The Rewatchables - ‘Unstoppable’ With Quentin Tarantino, Bill Simmons, and Chris Ryan

Episode Date: January 9, 2020

The Ringer’s Bill Simmons and Chris Ryan are joined by Quentin Tarantino for the second movie in our three-part 'Rewatchables' series curated by Quentin Tarantino. Up next, we try to prevent a half-mile-long freight train from barreling into a city as we celebrate Tony Scott’s 2010 action thriller, ‘Unstoppable,’ starring Denzel Washington, Chris Pine, and Rosario Dawson. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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If you love movies, you're probably listening to this podcast because of that. Well, you would like that podcast, too. Check it out. Coming up, part two of the Quentin Tarantino trilogy here on the rewatchables.

Don't get sentimental on me. Makes me think I'm going to die. The rewatchables. Unstoppable. Coming up next. We have an unmanned train rolling into a highly populated area with no air brakes.

Yeah. 006. What's up? There's an unmanned train on the northbound track. It's under power? It's coming straight at us. What are we worried about in terms of cargo? Eight great cars of hazardous chemicals.

We're not just talking about a train. We're talking about a missile, the size of the Chrysler building. I need to know where that train is. We're not exactly sure. You're not sure. We'll find out. Watch out! It gets worse.

I've got 150 students coming in on some field trip on track 16. Hey! Close your eyes if you want. You got a real knack for inspiring confidence, you know? You know that? All right, Chris Ryan is here. Quentin Tarantino is here. You picked this movie.

Yes, I did. We asked you to pick a couple movies. This was one of the ones you picked, and I did like a quadruple take. It's like unstoppable. I remember really liking that movie, but I haven't really thought about it since. I think I know why you picked this movie,

but why did you pick this movie? Well, one, I don't think it's that incredulous. I just hadn't thought about it in a while. I picked it because I just, actually spent pretty much the last between six weeks and yeah about the last six weeks going through a whole bunch of the movies of the last decade

so I could make my top ten of the decade. And so I was like rewatching a lot of stuff that I liked and watching a lot of stuff that I never got around to watching that I actually thought could be a contender to one degree or another. And so one of the ones that I did rewatch was unstoppable. one to see if it would make my top 10 list and then another to see well it would definitely make my top 10 genre list yeah yeah you know so and and that's kind of where I was coming from on it and when I saw

it it just blew me away so much both the combination of just the movie that is the movie the movie that's on screen the movie that's there and then the idea that it's just one of the last great last movies of a director of all time at the height of his power is doing what he does and that's not even being nostalgic or sentimental. That is just, I think, what it is. Yeah. All right. And then even comparing it to all the other great genre movies this year, it was like,

it was like number 10. It was like number 10 on my top 10 of the decade. And frankly, now after watching it again for this, it should be higher. Chris, what did you think on the rewatch? This movie fucking rules. I mean, this movie is just like lean, mean, middleweight change. You know what I mean? Like it's like 90 minutes in and out.

It feels like it takes 35 minutes. And the thing that I love about this, especially on rewatch, and I'm sure we'll get way into like Tony Scott's vision for this movie, is that there are like, I think three shots where there isn't something moving across the frame. Like there's either a train moving or he's moving his camera or he's got things going on. So even the most pedestrian, two people talking in an office scenes are like, well, the camera's zooming in and out. And then there's someone walking across the front.

in the foreground. And in the background, there's computer screens going back and forth and back and forth. And then he's like whipping the camera. Or shooting through glass reflections with a light blinking on them

as the camera is, their character is a movie from left to right and the camera's moving right to left. Yeah. And it's just Rosario Dawson being like, Galvin, do you have a plan yet?

Yeah. It makes almost no sense, but it's so electrifying to watch it. So I just think it's like one of those like tort of force filmmaking things. And then also, we talked about this a lot with Dunkirk, great jargon movie. Like you start this movie and you're like,

I basically know the words like Amtrak and dining car when it comes to trains. And then at the end you're like, you can't side like that. You gotta get to the rip track. What's he doing? It's just like,

it's an amazing thing where all of a sudden you're a fucking train expert like 35 minutes into the movie. I think this decade, this was the tail end of this decade where they were making this movie in different versions a lot.

And I do feel like it got lost a little bit because it got fantastic reviews. No one expected it to, it was like, look, it's a corny idea. We've seen the, idea of a runaway train before. I mean, it's a very most basic idea. Yeah.

Right. For, like, you know, for a movie. And because of the, and then the fact that he was just coming off of taking a Pelham, one, two, three. Well, that was, that, was the issue. Is that movie came out of year before also a train. Yeah, also Denzel Washington. When I was doing the research for this, was like, this movie made $170 million. But you got great reviews. Oh, yeah. No, A.O. Scott put it on his top 10 of the year.

Yeah. All right. And actually, his little capsule review for the top 10 of the year was great. It was like, sometimes a runaway trained movies exactly what you want to see. Yeah. Okay. Right.

So what happens? So this is a good movie that makes a lot of money done by a really good director with a major star but is not discussed. Why does that happen with this movie but not another movie?

We're discussing it now. But why did it have to be this podcast? I think you, I think you're in a little bubble that people don't love this movie and don't talk about this movie. So where was I? I don't know.

I blame you, Chris Ryan. I should have been more bringing the unstoppable campaign to your front door? I just think it's funny that some movies have these just these long legs and other ones are appreciated, respected, they do well. But it doesn't have that same tail. I can't imagine bringing up unstoppable to anybody who hasn't seen it.

Then go, oh, man, that was great. Yeah. You know, but there is actually an aspect about it is it has that kind of snakes on a plane kind of thing where, okay, well, the premise is in the title. Yeah. All right. And, and, uh, I think they even say it during the movie, which I was like when they saved the title during the movie.

You could sell, you know, uh, you can describe the movie in a sentence, basically. Yeah. And then the idea, though, is that that idea and that sentence and that premise is so completely in the, in both the most funnest movie way, the most sophisticated movie way, uh, just, uh, delivered. Yeah. And, and, and, but also in this really classy way. that it's just like, wow, you give Tony Scott a premise like this with those actors and that script

and when that kind of technology that he had is available to orchestrate all that madness, it's just like, well, of course it was going to be great. You can think about all the ways. But it still catches you by surprise. Oh, for sure. That it's as good as it is. Part of that, I think, is also like it's, it feels like it's in that central Pennsylvania, Ohio, Russ Bell area.

Like, if they had shot this movie like in any other place, if they had tried to get away with too much CGI, if they had done it in like in Louisiana somewhere or like outside of Atlanta. It just wouldn't feel this way. Yeah, no, no, some city that, you know, some state that has a tax rebate. Yeah. And so that's where they went. No, he's got like, I've got like five helicopters flying over this train. And it's going to be, we're going to do it in Ohio.

We're going to do it outside of Pittsburgh. It's going to be real. I was thinking about Enamea State when I was about rewatching this. Because that's another one that I just feel like is a good premise that I've seen before in different ways, done really well with a major star. and just executed. Yeah. And Hackman's awesome in it.

Yeah. And it just goes and it flows. And with this one, it just, this movie just goes and then it's over. It's like, wow, that was fast. Well, you know, also, but, you know, this has a lot of hallmarks to a lot of Tony Scott's other movies that actually enemy of the state is a really good parallel with it. And it's one of those things that, you know, not realizing he's going to exit the stage. You didn't quite realize how strong the hallmarks were. Yeah.

Maybe on the day that you were watching it. But the whole kind of. of calliope of characters. You definitely have your charismatic stars that are leading the boat, all right? And you have your secondary group of actors that are backing them up, leading the charge. But then you have all these pockets of wild interesting character actors where everybody, or young faces or old faces, everyone's perfect in it. And then they keep intruding on the story and keep taking the story in their own way. Kevin Corrigan takes the story into his own way as the expert guy at the thing.

And, you know, the two idiots, Ethan Seppley and the other guy. T.J. Hillary. Yeah. Crimson Tide had that. Yeah. You know, with this whole calliope of characters that actually these smaller characters start intruding in on the story and start dominating the story at different pivotal moments.

You know, hey, that is a Tony Scott thing. Yeah. Yeah. And they're all filled with humor. All filled with like, you know, witticisms. Yeah. So the pace that he creates in a movie where you just feel like you're almost going downhill. How hard is that to do and how many people can actually do that?

In particular in this situation where it is, you know, the whole movie is getting the train started. And then once the train gets going, that is the movie. And if it stops once, it's dead. Right. If it stops once, the other, the illusion is over. The illusion, he's let go of you from. a second. And if he wants he let's go, he can never quite grab you back the way he has had you. Like, speed is fantastic. But once the bus thing is wrapped up, it's wrapped up. It actually

secretly takes a little while for the bus to start in speed. I think it takes about 45 minutes for the bus to get going. Right. Yeah. But like, we like it so much that, you know, that, you know, okay, the subway car thing, that is what it is. And it's still a fun movie and it's really cool. But it's not from beginning to end. Yeah. You know, and like, there's this and there's Dunkirk. I would even say, I'll tell you the interesting experience I had watching this again, though. All right. So after Tony died, I rewatched all of his movies, like within a two-week period. And look, and I'm giving you a little bit of hard time, but I was even like a little like, wow, unstoppable is great. And I think I, and then I ended up like, I think watching it a couple more times like on cable when it just happened to be on for like a big, big chunks or something. But then I watched it again, like I said, about a month ago. And it was like, this is even better than I thought then. And so I watched it this morning. They get ready for this.

And I have no problem watching it again. All right. But I just kind of bought a bunch of other DVDs. And so I was like, okay, I got to watch unstoppable because I got to do this again. So it wasn't like I was, there's no dreading it. But it's not what I would have chosen to watch this morning if I had to sneak one movie in. But I did seven minutes into the movie. I'm right there, and it's even better than it was the last month I watched it.

And I'm, guys, I'm not trying to even, I just actually think it's, I think it's storytelling is so masterful. It's such movie storytelling, just cinematic storytelling. And that is, you know, so if I sound like I'm going overboard, it's not just because I like Tony. I do think he is one of the great master action directors of the last 40 years. in his own way, he's one of the most influential filmmakers of this last 30 years. I mean, you know, he kind of created that style. And then all of a sudden, every other mid-range Hollywood action movie is trying to copy his style. Michael, Michael Bay style is Tony Scott's style, except more.

Right. And not necessarily to a good effect. Tony has the right balance. And he had so many different sort of phases of his career in terms of, like, his visual style. Like when he's pushing the absolute limits of what you can do in like Domino and Man on Fire, and like he's just bleeding out frames with different colors and like overexposing and switching film stocks and slowing things down and speeding things up. And it's just like Kira Knightley walking down the street.

And he's doing all that just in there. It's like Michael Bay can't do that. Michael Bay doesn't want to do that. But there's even that aspect though is before Tony Scott was just his style was, you know, like Top Gun or Beverly Hills Cop 2 is the fast cutting in his face. this and that. But then he developed the style you're talking about. Like within the last like four movies.

Yeah. And now that became this new style. Now everyone else is trying to do that. All right. Every commercial looks like that. And by the way, he did the commercials that made them do that. Yeah. I love how also like rooted in the story that that stuff is.

Like, I mean, Bill and I fucking love Man on Fire. Yeah. And his whole thing where it's like the reason why Man on Fire looks the way it looks is because it's Creasy's interpretation of Mexico City. It's like, that's how it feels. That's how it smells. That's how it looks to him. There is cigarette burns in the frame.

Like, there is, like, this feeling of, like, this almost, like, sensory overload. So it's like, it actually really does aid the story. And it's the same thing for this. Everything is fucking rust-colored in this movie. It's just like, and, you know, it's a train movie, but it's really a monster movie. Oh, it's absolutely a monster movie. And if there was one thing that I got out of this screening more than the other one, was the true King Kong quality of 777.

Yeah. Yeah. And I think I always felt that. But no, this is a monster movie. He gives it a voice. It has a scream. It's like a real Godzilla fucking thing. I was struck just looking at his IMDB.

You know that old game? Like, all right, what actor would you take if you could have only one actor's thing on a desert island? Who would you pick? He has so many movies that I've watched, probably collected. I don't know. He's made like. 16 movies, 17 movies. But I've probably watched them collectively.

Maybe the most. It's way up there. Yeah. Yeah. And it's funny that we're on a podcast called The Rewatchables, because this is somebody who managed to figure out this style that was among the most rewatchable. Yeah, absolutely.

Enemy of the State isn't a movie that I probably should have seen 40 times, but I feel like I've seen it 40 times. I've definitely seen Crimson Tide, like, oh my God. 25 times. But I think it's that concept of the going downhill, where it's like it's really hard to pull away from, Tony Scott movies. Well, you know, look, look, there was a, I'm here to tell you, there was a time in the

80s. It was not cool to like Tony Scott. I mean, he was denigrated. All right. Oh, Ridley was the one. He's just the commercial hack. Screw this. And I was, you know, and I was fighting all by myself.

And I would actually use Douglas Cirque as a companion, even though their films aren't alike. I was like, look, in the 50s, Douglas Cirque is making these soap opera melodramatic movies. are actually the highest grossing movies in Universal's history, and he got no respect because no one had respect for the genre, and they was just considered commercial trash. And now they teach him in school, and now he's considered the king of melodrama. So I used Tony Scott,

so I used that as an analogy for Tony Scott in the 80s. Right. And one of the really great things is in the last, like, you know, 25 years, his reputation has, you know, finally caught up with his success. I remember having an argument. One, so a fun argument with Todd Phillips in a hotel lobby. And it was like, man, I can't believe that you pick Tony over with Lee, man. That's just so wrong.

That's just so wrong. You know, and I told them, hey, look, man, you can take Ridley and Russell. I'll take Tony and Denzel any day of the week. You know, he does Top Gun in 86. And then he does Cop 2 in 87. I am in the camp that Cop 2 is better than Cop 1. I absolutely love Cop 2 and the touches that he put. I remember leaving the theater for Cop 2 and just being like,

that's everything I wanted from a sequel. Usually sequels are going to be disappointing or 80% as good as well. That one you left, you were like, wow, that was awesome. That actually took it to another level. Well, I would even go so far as to say, not just when the movie's over. Okay, we'd seen the Flesh sequel and the this comedy sequel and the that comedy sequel. Never were. Peewee Big Big Top Peeweewee sequel and everything.

And then you sit down and then the opening jewelry store robbery. All right. And Beverly Hills Cop 2 plays and ends. And Eddie Murphy hasn't even shown up yet. And he's like, that's the best action scene in the year. This is some stupid-ass fucking comedy. Right. This is the shit.

When you were saying how the Wormid turned on him. Yeah. I really think it was because of Days of Thunder. Because Cruz was at such a powerful point of his career. And he does this movie, and it feels like a greatest hits of the last five Cruz movies and also like a greatest hits of Tony Scott. And it made people mad for some reason. I think it was one of those weird things where it was like also, it was such a big thing, all right? You know, him following it up and like, you know, everything Cruz did at that time was a thing.

And so this seemed like, you know, for all intensive purposes, this was a sequel to Topka. Yeah. You know, just with a different, you know, probably the same genre, just a different subgenre. Yeah, same character basically. Pretty much the same character. Same director doing his thing, just changing the, you know, changing planes for cars. And I think there was, and it was really expensive. And I think there was a resentment.

There was just kind of a machine, resentment of the machine. And then Last Boy Scout comes out. And that was another one that people were kind of mad about it after that came out. I love Joe Hallenbeck's character of Last Boy Scouts. I'm like, the most subversive, like people were revolted by that. movie because it was so dark and it was so like I mean like the guy the football player kills himself in the opening scene he's a pillhead like it's I like I I've always said but as soon as I started meeting like Bruce Willis for Pulp Fiction I was like I want you to do another Joe Hallenbe

Joe Hellenbeck after McLean is my favorite of your characters I could see five Joe Hallenbe what did he think of last Boy Scouts did he like hold it in high regard or was yeah he did it yeah he loved yeah he liked working with Tony and he loved that character Yeah, I think it's hands down Shane Black's best character. So when you, can you tell the story? I know the story, but for the audience's purposes of how you got hooked up with Tony Scott. No, it's not much of a, it's not a real story story. You know, it's just we had a mutual friend.

And this mutual friend was kind of really helping me out. And she knew that I was a big fan of Tony Scott. And she used to work with Tony. And so, like, Tony had this, like, little birthday. And he invited me to the birthday. And she invited me to go with her to the birthday. And so I meet him. And I'm like, you know, wow, Tony Scott.

Yeah. All right. And actually he was shooting last Boy Scout at the time. So then I even got invited to the set with her. And so I met him there. And then I think that's that happened first. Yeah. And then I went to this little party.

And it was a little tiny party too. And that was really nice. And he was really sweet to me. And, but I figured that was going to be that. But he apparently he liked me. And so he went to my friend. He goes, So what's Quentin's deal?

You said he's a writer or something? You know, and she goes, yeah, yeah, yeah, he's written some scripts and he's, uh, he's written two, he's written two really, really good ones. Well, I'd like to read him, all right? And, uh, so she gave him a true romance and she gave him reservoir dogs. And then he read him. And they called her up and goes, okay, I want to do reservoir dogs. All right.

Well, okay, well, he's actually going to, he's going to direct that one. All right. He's, that one's his. All right. He's going to... He's working to get a director and it looks like it's actually going to happen. So he's not going to...

Okay, well, then I'll do the other one. And... Really? Yeah, I'll do the other. Well, actually, it's set up with Bill Lustig at Sinatel and it's going to be done as a little B movie and they're going to be a lot.

And that's what happened. He made that seem like that wasn't going to be a good story. That's amazing. I would have waste our unstoppable time on telling you. The story of my life. So Denzel and Tony Scott do five movies.

Yeah. And you're convinced they are one of the great underappreciated partnerships. Yeah, and again, who's underappreciating them? They're awesome. I don't think people think of that as a, I don't think that is in the camp. Maybe they don't talk about it the way people talk about like PTA and Daniel D. DeLuze or something like that. But I think that people are like those.

Okay, well, well, you're using the highest art examples, all right? Let's use Don Siegel and Clint Eastwood. Okay. Yeah. I mean, they make action movies together. All right. He's not making, he's not doing fences with him. Sure. You know, uh-uh.

Tony Scott's fences would have been a good one. I'm not saying I wouldn't see that. And Denzel always makes a point. Whenever they bring up Tony to Denzel, well, no, we'll understand. Tony is an actress director. So if you're talking to me about Tony, you're talking about an actress director. That's why I work with him.

He's an actress director. Right. So there's a couple good pieces about them in their relationship. And Denzel said, here's why I like Tony. As you get older and wiser, you start realizing how screwed up and fragile you are. I don't mind sharing that in an environment where I feel safe. I'm not blaming anybody, but certain directors don't know what you're trying to go, how to help you get there when to stay out of your way.

They may have already figured their shot out. Yeah, yeah, yeah, yeah. So I'm taking from that, he feels like on the set, he can work some stuff out with Tony Scott. But other directors are like, no, no, just do I have this already storyboarded out. You're just doing this. Well, I think I, that makes, that makes a little, uh, that makes sense. I know, I, I know where he's coming from. And to try to read a little bit between the lines, maybe Tony Scott's way of shooting very opens him up that nothing is 100% preset.

Yeah. Because look, I mean, this should almost be said because I feel like I'm, I'm, I'm almost afraid that I, my enthusiasm for Tony's work and my enthusiasm for this movie, um, will seem suspicious because, the guy died and I was friends with him. Or just that I'm just, you know, throwing hyperbole around. And I truly, truly mean this and it's not hyperbole. And one of the things, my cases I can make for that is Tony Scott shoots in the exact opposite style of me. And when I mean that, I don't even mean like the finished effect.

I mean the way we do it. I'm diametrically opposed to how he does it. I am a director. and Tony Scott is a selector. All right. I shoot with one camera. And that's it. All right.

One camera. I don't want another camera there catching a sloppy angle just so I have more footage. Every shot you see in one of my movies was composed by me. Every single shot of a spoon or a close up or an over the shoulder. I framed it. I put it down there. I gave them the okay on the frame and we shot it. And I don't want another camera.

and they're just getting crappy footage. Everything you see, I painted that picture. Yeah. All right. Now, Tony does not do that. Tony will set up a scene, and it might take hours to set it up, but you'll have six cameras going on every single scene. Denzel called him nine camera, Tony.

Yeah. Six, nine, twelve, whatever. This, God knows how many. There's always camera. Every time you see it helicopter, it's shooting something. Yeah. There's cameramen shooting. in every single helicopter shot.

You're watching this movie. And you're seeing the footage in it. Yeah. And the fact that he was able to actually get his camera helicopter into the movie and actually have one of the most exciting elements of the film is kind of amazing. But the thing about it, though, is. And he's also doing it, though. And again, this happened along the way as he moved on where, like, well, now one of those cameras is 16.

and now one of those cameras was built in the 40s so it has this weird frame rate going on or a weird piece of film or this one has a weird filter on it or okay now we're going to bleach the shit out of this one or do this to the film

or do that to the film so it's all this weird kind of stuff and so he gets all that footage and he makes this mosaic out of it and one of the reasons you get some of those wild Tony Scott inserts is because it's always

kind of moving around, you can, you know, camera seven is framed for a medium or a medium close up on a profile of some dude, all right? But he doesn't just stand still through the whole damn scene. So then he goes in and out of the frame and in and out of the frame. And now maybe, like, it's shooting something weird and you just see his hand, you know, come into the frame. But now, but that all is all connected to this. So he can just, just cut to the hand, emphasizing the word train. And he's created a cutting cell that makes that acceptable. Who the hell would frame that shot? But he gets it in his capturing of it. So, I mean, literally, he is the exact opposite of what I think of myself as a director. But he, but one, there is a method to what he does. There is an

artistry to what he does. It is how he sees it. And he's just, and now everyone does it, but to me, they do it sloppy. And he did it in like a trucey. And he did it in like a trucey. true artist. So Tony Scott said about Denzel. Out of the five movies, Denzel gives me a different aspect of his personality. Always something different inside of him. He manages to pull out a different aspect. On Pelham, he was the guy next door out of his death.

Then you look at Man on Fire. He was this capable but complicated CIA agent. He's able to never repeat himself. And I was thinking about those five movies. It is true. It's five different Denzel's in the five movies. No, it's like in Crimson Tide. He's like Gregory Peck.

He's like, you know, like, he's like this, like, really fucking movie star. Because, like, you got to think about how hard it is to go up against Hackman and have everybody in the theater rooting for you. Right. Yeah, yeah. And that's, that's like what he does in that. But then, like, in Man on Fire, he's practically like Lee Marvin or something like that. Like, he goes, like, he runs the entire spectrum of like. No, he's the, you know, he's the weapon.

Yeah. He's, you know, a disillusioned weapon. Yeah. Denzel said, I love working for Tony because it's like, damn, you can't outwork this guy. I'll be there at 4 a.m. And find out Tony's already been there for seven hours. And I'm like, that means he never left. But it just seems like they clicked.

Yeah. Who have you clicked with like that? Is there one actor you clicked with like this where you're just like, oh, that's the one? Well, I have a few. Oh, you must have a few. Yeah, I have a few. I mean, look, I mean, like, I mean, the two actors I'm probably the most known for working with is Samuel Jackson and Christoph Waltz.

Yeah. And like, and I've definitely clicked with those two. but again even that's a little slightly different situation because it's how they say my dialogue yeah now you know and i you know and first off is a little easier to work with than sam all right you know um but uh um that's not saying much but uh but uh having said that though there's also uh actors that you know i've i could work with uh cur russell and everything all right just the how how much funny is on the set how how uh how much i dig him how much I love what he brings, how much I love our simpatico energies when we shoot, the conversation, the bullshit conversation we have in between takes.

I mean, just everything about it is just great and fun. Yeah. And to, you know, and to some degree, you know, and to some degree of Tim Roth is like that. Sure. You know, with me. That's cool. Well, one of them said, we find people in the real world make sure we're on the same page with each other and with them.

I think that was Tony Scott said that. So I didn't realize that Denzel. Because I can imagine he's probably had directors that either he's overpowered or he just didn't like that much. But for some reason, this is the one of those guys, you know, where it's like, you know, he doesn't suffer fools gladly, if at all, frankly. You know, and he's worked with the, I truly think that Denzel Washington is for my generation of actors. He is our Paul Newman. And like Paul Newman, he worked with the complete. gamut of Hollywood and British directors insofar as the middle of the road guys, the art guys,

the studio dudes, the journeymen, the young people coming up, all right, who have just did a couple of earlier things and now they're doing this, you know, guys who are like a little older past their prime working with him. I mean, like, really, the whole array, you know, that's, and that's what a star does. Yeah. You know, and so. I like that analogy, Paul Newman, Denzel. So who's this generation's version?

I still think it's Paul. I still think it's Denzel watching. Double generation. Yeah, I don't think nobody, I don't think anybody's a, if there's somebody who's dethroned him in the Paul Newman, well, I guess, if there's, no, if there's somebody's just thrown him in the Paul Newman world, I don't know who it is.

I mean, he's later Paul Newman. Yeah, you know, he's verdict Paul Newman. Denzel, he's like LeBron. He just, you just won't go away. The budget was somewhere between 85 to 100 million for Unstable, made 167. Roger Ebert, three and a half stars out of four. All right, Roger.

He said in his review, in terms of sheer craftsmanship, this is a superb film. Roger's back. That is exactly where I'm coming from. I mean, it is, it is, it's craftsmanship as art. Yes. The only other thing I want to mention

before we get to the category. And movie craftsmanship as art. Yeah. That's an important aspect about it. This is such an obvious 1998 to 2002 Matt Damon part, the Chris Pine part. Matt Damon's just has to be in this movie basically

for the first five years he's a star, but then he became Matt Damon and it would be weird. And now you have the Chris Pine. I don't know who would be now if you made this movie in 2019. Because the guy's got to be a little younger, right? It'll be mid-late 20s. I buy what you're saying about Matt Damon.

When I was watching it, I was saying, oh, this is a Christian Slater part from the 90s. Yeah. That's another good one. Yeah, yeah. So who would that be now, Chris? I mean, you could make it run at Teller. Like, I could see. Teller's got kind of like the beaten up face. He's from that area.

He's from Philly, that Philadelphia area. So I could see him doing the Chris Pine part, getting kind of like annoyed that he was being told what to do by the older guys. It's got to have the retirement home line. Well, you know, let me stop talking about Denzel and Tony for a second because actually one of the things I like about this movie. And to me, this, no, I won't say that. That I won't get ahead of ourselves.

All right. But it's good. I'm glad you're obeying the rewatching. Yeah. Yeah. It's a good job by you. But to give you maybe a sneak preview of where we're going to go with this later, I think one of the things that's exciting about the movie is I am a huge Chris Pine fan.

To me, of the actors of his age, he's hands down my favorite. Of that group. Okay. Of that group, of that era, all right, of those guys, he's just, he's hands down. My favorite. And the thing is, when I saw him in the Star Trek movie as Captain Kirk, I thought, well, He's making this movie. I mean, I'm all aboard, literally.

Yeah. All right. And then it was so exciting to see him and this, to see him get the Tony Scott treatment. Yeah. Okay. Because, like, he needed that to actually make him a movie star in my eyes, all right? And he got the Tony Scott treatment. He got the, he got that the way it's shot and the way it's lit and the way the film looks and the heroic stuff in it.

to jump from the fucking truck, man. Yeah, but it's just the way he's filmed. He's filmed like a movie star, and he looks at it. He soaks in those colors. He soaks in that lighting. He soaks in the costumes. And he completely holds his own with Denzel. And it's just like, that's what he needed to make him a movie star.

And frankly, to tell you the truth, I don't think he's had, he's been good in other movies, but he hasn't had that. Yeah. You know, he said it's a Christian Slater part, which I agree with. But that makes me think could Chris Pine in a time machine have been in Jerome? He could have been, right? Like 2000. All right, we're doing the categories.

Let's take a break to talk about Pepsi with the new year officially hearing everyone vowing to restrictive resolutions. Pepsi wants to usher in the new decade a bit differently by encouraging everyone to unapologetically do what you enjoy, even in the face of others' judgment. So Pepsi encourages you to let Lewis be yourself and live your life like nobody's watching. For instance, you know what I like? I like horror movies.

I don't even care if they're that good. I'll watch the haunting of Sharon Tate. I'll watch Ma. I'll watch Boo! Exclamation Point. Watch that one over the holiday break. I'll watch Happy Death Day, too. I just like horror movies.

My whole family does. Most of them are bad. You know what? I don't care. I enjoy them. I don't really care what you say. and as Pepsi would encourage me to let loose be myself and live my life like nobody's watching, I'm glad nobody's watching as I'm watching all these Taylorboro horror movies,

but that's just who I am. Pepsi, that's what I like. Most rewatchable, here's what I got. Feel free to throw one in after we do this. First one, Ethan Suppley, what's his character's name? Does it matter? Dewey. Dewey.

When Dewey loses the train. Come on, get back on. Do it. Bring it back on. I'm on it. Doey's got the flogging. You can see it coming. Then it's like, oh, I can't they stop it?

And it's just abandoned idiots. They do a really good job. Because if you try to explain to somebody, well, these two guys lose the train. And you're like, what are you talking about? No, come on. And it's like, oh, my God, they really lost the train. The battery goes out. Like, he's trying to catch up with it.

He falls. He's an idiot, but he's not a movie idiot. It's the kind of thing a real idiot. dude, but a real idiot. Yeah. Not a movie idiot. He does that in the enemy of the state. You have the guys who are doing the surveillance like Seth Green and their movie dicks.

But they're actually just good dicks. Yeah. I actually think those guys almost steal the movie. Yeah, they're really good. But he has a way of grabbing these fringe characters. But anyway, that's a big scene. The train almost hits a horse. Oh, yeah.

I mean, unfucking real. It seems like it's in play, too, which I think he's created this movie where it's like, oh, man, they're going to take out the horse. So you're just leaping right over the children. Right to the horse. I've seen children, man. Horses. Well, that's the thing.

It's like, you know they can't kill the kids. Yeah. But there's like a one in ten chance the horse is done. I know that kids aren't. But there's that shot from inside the horse trailer where it's a guy with two horses. Yeah, yeah. And then the fucking train is coming down the tracks. I sent you that screenshot the other night where I was just like, holy shit, man.

Like, the date, how did he even do that? Oh, I know. I mean, I mean, I mean, I mean, some of the most exciting, you know, exciting images in this movie is the, you know, is that whole aftermath of the train going past the horses. Yeah. All right. So when they finally get the horses off and the train's going and all the shit's in the air and the horses are flipping out and the guys are fighting the horses. Let's be honest. And if he's making this movie in like 1990, the horse is going down.

He's taking the horse out. I mean, he had a running back. himself from the opening seat, unless He's taking out the horse. I think there's some things that you don't do at your own... At any point? If you're going to kill a dog,

you're going to kill... Unless you're John Wick, and the whole movie's now going to be about you getting revenge for the dog. Good point. Next one, when they plant the car in front of the train and it goes badly and it derails

and it blows up. And it's the first time you start thinking like, oh, this train's going to take out an entire time. Holy shit. Maybe it derailed. Oh, my God, Galvin. Let me talk about that scene for a little bit.

You go ahead. One thing is really great about that scene. That's Galvin's big move. Yeah. And it's actually, and I don't think I noticed this the first few times. All right, watching it this time, we're hopping back and forth between his boardroom, talking about what they're going to do, and Rosario Dawson talking with her people about what they should do. And then Galvin comes up with a plan, and you expect him to explain the plan.

And you expect that you're going to have a scene where he's going to be. he's going to explain it to Rosario Dodson. She goes, what are you crazy? But they actually don't do that, all right? They set up that there is a plan. He goes, oh, we got a plan and we're putting it into action right now. We got this. And it's really kind of cool that there's no explanation.

We watch Galvin's plan take shape before our eyes. It's never told to us. And we just get it. Is that our guy in the helicopter? Yeah. We're putting it together. And it's actually a good plan. The cool thing could have worked.

The guys in the train, like Denzel and Pine, don't know. Yeah. Like, the flow of information is really great in this movie because we get to see everything. We get to see the TV broadcasts and we get to see Ned driving along and Galvin and Connie. But the guys in the train are like, who's driving the train? They're like, what happened? Oh, no, we keep getting caught. We keep getting caught unawares at how little they know.

Yeah. Every time we go back to them. Next one, Will, when he's trying to attach the train and he falls and he gets hurt and the whole thing. this is a really incredible scene because Chris Pine's doing the stunt and there's no CGI and it really feels real and I don't know how he did this

but as you're watching you're like I'm worried for Chris Pine which is the end I'm like wait a second I'm sure he has some fall I'm sure he has like a cable line of them but they made they made me nervous for him in an unusual way which I feel like

with the way we do CGI now I don't get nervous like that it's all those long shots too of like you can see the trees going by in the background Oh, yeah, yeah. It's pretty hard to, like, yeah. Yeah.

Oh, yeah, the hair. I mean, everything. It's like, you know, boom. And then when he hurts his foot, it's like a realistic movie injury where it's like, oh, that looks like that hurt. And then he's like, yeah, he should be limping. Yeah. Oh, I mean, frankly, I mean, it's kind of a brutal line is when Denza Washington's talking

to Rosaro Dawson. And she goes, is he okay? And he goes, he's different. Over. Wow, that's not even funny. That actually got a hurt. I know. It's got a cane.

Next one, the train heading toward the big turn. Frank, we're going to rip right off. Got no choice. Turn that, for whatever reason, just happens to have a whole bunch of nuclear reactors right next to it. The worst city planning in, like, an America. I don't want to step on the nitpicks, but what are they doing with this? It was, like, written by, like, the Austin. powers villain.

Yeah, seriously. What if we put, like, gasoline tanks next to the trip? If you're going to use that as the picky nits, okay, I have a defense. It's ridiculous, all right, but I have... We'll save it for a way. Yeah, I'll have a defense for that, though. I don't think it's a nitpits. So it's all about going around this turn.

Yeah. Which is shades of speed trying to go off the ramp and stay in 55, which I was enjoy. I was like, we're not going to be able to do this. But one of the things about great about that scene, though, is, well, one, it's like the big action. You know, it's like, this is what they really got to do. or they got to pull this off or we'll figure out how we're going to stop the train later. Or these guys are going to die. But this is the thing that will stop untold how many people dying from radioactive poison.

But they got to do that. But not only is it the execution of the action, by that point in time, he's done such a fantastic scene of all these pockets of characters watching it, watching it on TV. And you buy the fact that everything we're seeing is being televised and there. And so the cross-cutting between the engineers at the shop watching and rooting them on. And then Rosario Dawson and her people watching and rooting them on. And Denso Washington's daughters and hooters. I was going to say it. I was waiting for you to say that part.

You know, and the bars watching it and the rooting of all. And his, you know, Pine's wife is watching her little room with her son, clutching him, watching and all these pockets watching them do this and is this going to work and then when it starts finally does working and them cheering them on yeah and but i mean that's actually ends up being emotional yeah it's it's you know uh and there's something so emotional about you know the big masculine engineers like you you know uh cheering you know what's the denza watching this character's name uh frank barns yeah go frank yeah i'm also always a big fan of the uh of when it's a bus or train or whatever

when it's tilting. Like speed did that really well to do. It's like, oh man, that thing might tip over. Yeah, yeah. Hanks on. But nobody knows enough about trains to be like, maybe that could happen. I don't know.

With buses, I'm like, I don't know if you can hit 55 going up this ramp. Yeah, like, you know, the trains, it's like, I believe it. I wrote down for that one. The train makes it around the turn as everyone at Hooters celebrates. Yeah. And then the last one, Will jumps out. Yeah. and back onto the train,

which I realize fast and furious, which is one of my favorite movie franchises, has desensitized me for the jumping from a car until moving. They make it seem so seamless. You know what's great about that. Oh, yeah, this would actually be really scary to do. Oh, hell yeah. It's actually the Dewey run in the beginning,

because you get to see how hard it would be. Even though it's for somebody who's obviously a little bit, like more out of shape than Chris Pine's character, you actually see where it's moving. You're like, oh, he could catch this. And it's like, oh, no, actually, that would be pretty hard. And then it's like, oh, he holds it, but he's about to...

And then, like, when the T.J. Miller character gets the door knocked off of the truck, it's like, this is fucking dangerous what he's trying to do. It's really tough. So, and that leads to... So I'm picking this for the most rewatchable scene, but that leads to Denzel, who has already tried to make the run. He's still on the train halfway down, standing on top of it with the arms up. Which is, like, the Tony Scott staple of...

He has a way of, like, these little images that after... you see the movie, you still have the image in your head. For me, the image of this movie stands out of this answer. One of the movies that Tony was influenced by is the movie Runaway Train. Eric Roberts. Yeah, Eric Roberts and John Voight. Now, there are different movies because Runaway Train, while it takes place on a runaway train, isn't about a runaway train.

It's about these convicts trying to escape the prison. And it's a very cynical movie. And the interesting flip is the train isn't really a character in Runaway Train, where the Train is absolutely a character in this movie. But that image of Denzel is kind of taken from, it's a big John Voight moment at the end. Oh, yeah, you're right. Yeah, he's on the roof and it's freezing

and it's going to his own oblivion and he's like, yeah. What's most rewatchable for you? I got to go with the Ryan Judd Chopper attempt to stop the train with the kid hanging out. There's a shot in that sequence where I think I counted two trains, three choppers, and a fleet of five. fire trucks, police cars, and a pickup truck in the same frame. And it's like his camera is going over, but then you can see the train that the one guy is trying to get in front of it is there.

Then there's the 7-77 behind it. Then this fucking kid hanging out of a helicopter. Then two other helicopters just flying around there. I just was like, my eyebrows got singed watching that. That's my favorite sequence. What do you have, Quinn? Well, my favorite shot in the movie is in the, and that's saying something because there's a lot of great shots in this movie. My favorite shot in the movie is in the Chris Pine

trying to lock the connector together. But when it comes... Like when the grain explodes? No, well, yeah, it's the shot when the grain explodes and they're getting pelted by corn or whatever that is. And then the helicopter literally gets parallel, all right, with the train. And it's like him and the corn, a cornstorm,

like something out of Days of Heaven, all right? And the helicopter right there. I mean, that's something straight out of apocalypse now. Right, right, right. Yeah, that's good one. But, but, but, but, but, but, but that's a shot. I think when it comes to the most rewatchable scene, I think it has to be, uh, um, Ned arriving at the end.

Yeah. All right. It's so thrilling. It's so exciting. Ned arriving at the end in his red truck and then, uh, Chris Pine jumping in and then getting that and getting Chris Pine to the front. I, that was like, whiplash. Yeah.

Yeah. When it comes to ending. Yeah. What stage is the best? I have a couple of things. bald Denzel. I was like when he goes bald. But bald Denzel is as the guy who's kind of an asshole who knows everything.

But Denzel is one of the only actors who can pull this off where it's like, what's your character? It's kind of an asshole. He knows everything. He's a know it all. He's just going to be a little bit condescending. Normally I don't like that person. But when it's Denzel, it's like totally fine. It's like, oh, Denzel's doing it.

Denzel is all the answers. I'm in. Ethan Suppley and T.J. Miller as the fuck-up comment. T.J. Miller, no long hair, no mustache. Seems like a different guy from Silicon Valley. But I thought they were great. I like the evil guys who we only see briefly as they're deciding went through the train. They're all playing golf course.

Yeah. What's the most evil thing these guys do? What's the dog valuation? Yeah. Yeah. I also, but, you know, I would say something that has aged fantastic about the movie is the financial politics of the breakdown between the end. engineers going on where it's when like Saturday Night Live did a takeoff on

unstoppable when it came out with a takeoff on the trailer and they killed it. It was very, very funny of their takeoff. And they're hitting on what should be and what you would imagine from the movie would be the cliche of the film, you know, of Denso Washington screaming at Chris Pott. You're too young. Yeah, you're too old. All right. So that's why they don't like each other.

You know, old timer doesn't like the rookie. Well, there's a whole other aspect to that, all right, that actually, I think hits home stronger now than it did then of the fact that, no, the train company doesn't want these guys they've been paying for 30 years whose salaries have gotten up to, as far as they're concerned, the moon. So let's retire these guys that we have to pay through the nose for that have all this experience. And let's hire these rookies and teach them what they do when we can pay them at a rookie pay grade. And that's what's all, that's the entire conflict is about. And it's what's so great because he gets to say when he's like, you're fired. He's like, you already fired me. Yeah, yeah.

It's like such a great reveal. Yeah. And then the fact that like, I mean, that would have been the easiest thing in the world to do. Again, when I talk about storytelling about how this is all telling a story is, it would have been the easiest thing in the world to do for like, you see Denzel get ready for work and then leave home. And then, and then you'd see. the notice that he got that he, that he's going to be retired in however long it was,

okay, 150 days or 100 days or whatever it was. And he's seven of them are gone. I mean, it could even, and actually, I think this would be corny, but actually Tony and Denzel could have totally pulled it off

because they're the kind of iconic guys that could do this. He could even, you know, maybe he does a hash mark on his wall. Yeah. All right. Day 70.

Or maybe he does. Crossed not the calendar. Or maybe he did, you want to see all 70 of them. Or maybe it's on, You see him opening his locker, all right, at the train station. And he has a Sharpie, and there's 70 marks on there. Boom, all right.

You know, and that's what he does every day until I do my last one. And we get it. No, that's not how they do it. All right. We understand the political, we understand the wage gap dynamic between them and the hierarchy of what's going on a little bit from Judd talking about it. But you don't really realize that it's affecting Denzel until the middle of the movie. And that's when Chris Pine's character realizes,

oh, this is what this is about. That wasn't a rhetorical argument. Yeah. All right, that tensel was giving me. Yeah. Well, that ties into another what's age the best for me. It's really hard to pull off when it goes badly in an action movie and they try to pull the, all right,

let's have a scene where the two characters try to connect in some way. Yeah. And it almost always goes badly. It's so... In this movie, it's like, it really does feel like every sentence they say to each other feels authentic to me. Yeah, one of my favorite moments in the movie is when Denzel decides he's going to go try to catch it from behind. Yeah, yeah.

And he says, Are you in or are you out? You want to get yourself killed? You do it alone. You know what? Ask your wife what she thinks. Wait! And it's just like ask your wife or like ask your wife if you should go like basically like you're going to save your wife's life or not.

Yeah, yeah, yeah. Because if I don't catch this thing, you're like everybody's dead. And he gets back. It's such a perfect, they don't overdo it. It's just like just enough to know what's going on. Yeah, because normally when it goes wrong, it's something like, so you're a big Browns fan? Yeah, yeah, yeah.

You like, and it's just awkward and they throw away a minute of it. I mean, it's funny because actually compared to the Taking Appellum 1, 2, 3, which is almost like all about how good the dialogue is, you know, until the end of the movie, all right, you know. And by the way, I don't like the end of any of the Taking Appelam 1, 2, 3 movies. They all, none of them work as far as I'm concerned. That really was about really terrific dialogue. And so, and, but frankly, in a movie that's not really about dialogue, their dialogue is pretty good.

It's really terrific. Yeah. It's really good. And it's also really functional. Yeah. And you buy it. And again, like what you were saying about, you know, that Bull Durham thing, all right? Yeah.

Yeah. They keep talking train stuff. Yeah. Yeah. You understand about the, you know, all of a sudden now the five extra cars is a big deal. And he's like, I'm going to green sheet you. And he's like, don't, don't green sheet him. Oh, my God.

What did you get? Greensheet Denzel? I also think that it's a lot. to this point, the characterizations are actually pretty nuanced. Like, you've got Denzel, like, in a stupider version of this movie, it's like, Denzel's got one daughter who he's long fallen out with. And then he would call her. Who claims him for the divorce.

Yeah, or like, that's why I'm working at Hooters is because of you or something like that. But it's pretty normal, like, hey, they're just working at Hooters to work their way through college. And then on the flip side, it's like Chris Pine's relationship to his wife is pretty complicated. Yeah, yeah. We're getting into that, what stage is the worst. I also have Denzel's one role. I only got one rule one rule only

You're going to do something You do it right You don't know how to do it You ask me all right Likewise if you need anything for me You better speak up Because you're the conductor Once we get out afraid

It's your train I'm just a guy driving it Yeah right It's actually not like not the worst rule in the world For somebody who's in church What else do you have For what stage is best

Anything? So this kind of goes to what Quint Was saying about all the people watching But I was trying to think of a fun name for this I think this is like a mission control movie. Because some of my favorite stuff is the Rosario stuff. Yeah. Uh-huh. And the way

she's kind of like moving from, get this guy on the phone. Wait, you, come in here. Like, make sure these kids are out of the way. No, no, no. Tell him. I'll call him back. Get me, Galvin. Now. Frank, that train's carrying 30,000 gallons of toxic chemicals. They had a window before. But that train's going into populated

areas. There's no way they derail it now. And it's very like Ed Harris and Apollo 13 or like, you know, like Armageddon does it really well. I'm sure there's like, I always think about Hunt for October, when they're like, well, everybody's, like, watching it on the screen. War Games was a good one like that, too. Yeah, and it's just like, that's such a cool, like.

But then, you know, but then this is the Tony Scott version, which it's a little funky. It's a little, it's a little looser and goosier. So, so then all of a sudden, Kevin Corrigan starts like, you know, the guy who's not supposed to be there actually has this interesting information. Yeah. So it's not just all these people, all right? Now, he's interjecting. Yeah.

And no one wants to hear it until finally, well, maybe we're not listening at her own peril, all right? And even when you think Denzel is just blowing him off, okay, what about this guy? Well, in a perfect world. Any other what's age the best for you? Okay. I say, I promise I won't say this for the next couple of times I ever do this. Okay.

All right, but I am going to say what age the best that I used for Dunkirk. Uh-huh. And I won't try to use this as a cliche. The mastery of Tony Scott when you watch this movie Unstoppable. As you watch it again and you then maybe see it for three years, four years, you watch it again. wow. I mean, just his style. I mean, it just, it gets better and better and better and more right there and just more secure. And you, and every time, every time you see it, you see another level that how the movie's working. The fact that it's his last movie definitely adds a different weight to this movie that I was thinking about when I was rewatching it.

Like, man, this is, if this is somebody's last movie, this is a nice one. I have a little collection of great. last movies and by the way there's not that many of them. So what do you think the greatest last movie is? Because I don't even know what that list looks like. Yeah, it's like I've... Because usually it goes badly at the end. It's like sports.

No, the last four or five years is usually kind of a write-off actually. Three of my favorites are terrific director named Phil Carlson. He did Walking Tall amongst other movies. But he did a lot of films in the 50s and the 60s. He was really great. And his last movie is a film called Framed with Joe Don Baker. All right and it's kind of his follow-up to a walking talk except this different movie and it's it's very similar to the Brian Keith movies that he used to make in the 50s and it's it's just terrific and I'm also a huge fan of Joseph von Sturneberg's last movie that that that uh the the saga of anthema okay which is like this Japanese movie he made and that and it's a it's this whole Japanese story that he tells and he narrates the whole damn thing

Joseph onsterberg no way yeah it's it's kind of an it's an amazing it's an amazing movie But one of the things, though, just a hit on this Tony Scott mastery of his storytelling style and his visuals is, I didn't know this, but I buy it when you told me that Nolan, Christopher Nolan watched Unstoppable when he was planning Dunkirk. Is that true? It was one of the movies he screened, yeah. And you can see it. You can totally see it. But you can tell that one of the movies that Tony Scott watched while preparing this movie, was apocalypse now.

And in particular the entire, not just the ride of the Valkyrie sequence with, you know, the raid, the right of Valkyrie raid with Robert Duvall, but the entire Robert Duvall sequence, or even at night when they're on their little surfing, uh,

playing the guitars and stuff. Because one of the things that Coppola realized, you know, much to his chagrin, especially since he was paying for the movie, really much to his chagrin, that after they created this environment, with the helicopters after the raid

that if the helicopter, if every time we were there, if there's not helicopters flying in the air in the shot, then the whole thing falls apart. Yeah. It all dies. He's created a visual motif that he cannot stop. Right. He literally, it loses 40% of whatever energy that it had. So he, so he had to orchestrate helicopters flying through every single

shot until they leave, until they officially get in the boat and leave and go down the river. It always has to orchestrate helicopter shots in there. And Tony does that. Once the train gets going and once the, you know, once everyone figures out what's going on, all right, you know, every shot has helicopters. Now, I took a little bit of that when I did the Spawn Ranch scene. And once upon a time in Hollywood where it's like, okay, if we're at Spawn Ranch,

once we're in Spawn, once we're looking at the Rance, we see anything. I have to have at least one or two dog crossings. I had to keep the dogs moving, all right? If we're shooting, even if it's Brad Pitt's on the other side of the screen door in the house, we've got to have dog crossings going on in the background. If wherever a spawn rants, any shot has to have some dogs doing something. No shit. He's like, get those dogs moving!

Yeah. It's one of the back! It was a lot easier to do than orchestrate helicopters. Probably. I was flying through frame. All right. But it was like, it was keeping it alive. Yeah.

It kept the ranch alive. It kept the vibe of the ranch alive. It kept it moving and running and going. Was that the hardest scene to shoot? No, no, not necessarily. It was actually kind of easier to shoot, frankly. Yeah. What's age the worst?

I got one. Do you want to start with Chris Pine's restraining order story? Or just everything about his ex-wife, about Darcy? About Darcy? I was going to start with just, I think, railway safety field trips of age the worst. I think it's like as a society. We got it.

Be careful around trains. No need to put kids on trains when there's also chemical trains going by. Yeah. Good point. I could go for that. I'm down with that as well. Well, I have no problem with that. I think the Chris Pine, I obviously have no problem with the Chris Pine backstory because

well, that actually sounds like a real backstory. All right. That actually sounds like something that could happen. That's actually sounds like something that could happen. That's the kind of shit that real people get into. All right. That is, you know, that's not some movie. thing of, well, my sister, my this, or my that, or, you know, that's, no, that actually sounds

like a very specific incident that completely got out of control. Right. Unfortunately, it leads to her inexplicably showing up at the end and everything is okay. That's my thing for Darcy. It's just like every other town along the way, they're like, we got to get Arklow, we got to evacuate this place. Well, wait, wait, okay, you guys are going to Nikki Pitchie. Yeah, all right. Picking.

Just in general, Darcy, I didn't, I didn't really understand her motivation in this movie. She was out on Chris. Chris Pine, but he was going to die, so now they're back in and they're going to get back together. I mean, frankly, to tell you the truth, if my wife showed up with a gun at a policewoman who was made me too much attention, I'd be flattered. My husband pulled a gun on a cop for me. I have for what's age is the worst, flip phones? Yeah. It was weird.

It's always weird for me now saying a flip phone. There's a specific era of movies. I have a flip phone. You still have a phone? Yeah, that's the only thing I would have. I would actually bring, if I have. I have it in my pocket. I would bring it out right now.

And that would shut you down. I'm always so used to saying iPhones at this point. Oh, my God. Well, that's my favorite part about, like, the Darcy bit where she's texting the other guy. He said, you know, I caught her texting. And it's like, what was she texting? Like, 333-4-4-5-6, 3-3-2? Because you had to do, like, the T-9 texting.

It's like, she wouldn't be able to be too subtle. Like, I had entire relationships with people on phones like that. What are you talking about? You're like, it's impossible. Do you really still have a phone? I would never have one of those iPhones or anything like that. Yeah, if I have a phone at all, it's a flip phone. But I mean, I never have it.

But the one thing I do have is flip phone. I have, I own one. Yeah. Okay. Okay. I have Denzel's daughters working at Hooters as a what's age the worst. That's what age the best. Only for this reason.

No, I'm in on them working with the Hooters. It's just, I think in 2019, the whole Hooters thing, it seems like it's gone downhill. It goes a little dating. Yeah. Okay, you know what? Okay, well, well, they haven't gone away. They're still there. I think there's still the big one in Vegas and everything.

I would, I'll buy that it's on the tail end. But that doesn't bother me because, I mean, like, I mean, you know, it's like there is that hooters aspect to it, but they could be hot dog on a stick. And then I'd be down with them wearing the hot dog and a stick outfits. I mean, it's, it's about the outfits. It's just funny watching them in the outfits. It is. They got rid of the one in hot.

Hollywood. And there was one downtown. It seems like it's going I think it's on the, I think it's on the out. But I don't think that's a bad thing one puts it in its own time. It's just a category of what's age the worst.

But also age poorly. Well, worse is a loaded word. All right. Worse is not what's age differently. One thing I think it's cool about the flip phone thing just before we move on is that there, if you made this movie now,

everybody would be streaming it from their phones. Like everybody would be streaming the runaway train from their phone. And everybody would be like, you know, tweeting like, I heard that the train isn't even moving that fast. Or I heard that the train is actually Ukrainian, you know, like. Ukraineian. I should have put... That would be like, what age is the worst?

Do this movie today. Yes. That would be what is age the worst. Any other what's age the worst? All right. Casting what ifs. I don't really have anything. There wasn't a ton of information.

Denzel dropped out for a few minutes and then came. back. So Martin Campbell almost directed it. Oh, really? That was the only thing I found. And then the other thing was Tony Scott used real newscasters as much as possible because he thought it would be more authentic. And it's actually, I did notice that.

I do always wonder why movies don't use the real reporters over the fake actors pretending to be reporters because it always feels more authentic. Well, I think that goes into one of the things that I loved about the movie so much is, you know, it's got a huge cast of speech. because of all the different people that they cut around to. I mean, they're all perfect. I mean, there's not a weak note in, you know, in this movie. Even if you don't like Darcy, she's like, she's kind of cute.

And there's like, she has this empathy in her face. For sure. When she's watching the television. You can't win me over on Darcy. That's okay. That's not all my case I'm going to make. All right. But like even the, I mean, but talking about everybody who comes in and has a few lines,

they kind of nail it. even including the newscaster in the helicopter that you only see her footage from the video thing. She's right on, man. She's terrific. But everybody is that level. Everyone just comes in for their little bit, their little piece of the mosaic, their little tile. They're a little piece of tile. And it's a vibrant color.

And it makes the whole picture. Quick break to tell you about the Ringer podcast network. If you're new to this podcast just because Quinn Tarantino's on it, we have a lot of podcasts. sports, movies, television, celebrity gossip, solos with people like David Chang and Larry Wilmore and JJ Reddick. More importantly, the rewatchables, we're heading toward 100 episodes. In fact, the next one with Tarantino will be our 100th episode. And if you like this one, I would encourage you to go back into the archives and you can find all kinds of movies from the last 50 years, including we go way back to Butch casting in the Sundance Cade. We've done both

Godfathers, Fatal Attraction, Jaws, my best friend's wedding, the Shawshank Redemption, Silence of the Lambs, the Shining, you name it. If you've rewatched it a few times, we've probably done it. So after you finish this one, if you want a little more rewatchables, I would go back, dip into the archives and you can do it wherever you get your podcast. The rewatchables presented only here on the Ringer podcast network, back to Unstoppable. Dion Waiter's a word. This is a category of one to me.

This is the NED Award. Oh, you got it, man. No, T.J. Almost to be called the Nett Award. I think so. I think you could make the argument. I don't want to take it away from D.on, obviously, a very special person to me. You want to skip over T.J. Miller, just completely?

I just don't think anybody has the range of the NED gets three scenes, including the most important moment in the movie, plus the funny moment in the diner. I mean, we can talk about the other people that would come in for second and third and fourth, and they're all fun to talk about. But it's... But it's net. It's net. Yeah. It's net. And there's even an, and one,

Lou Temple just crushes the role. He just crushes the role. But then it is, again, it falls into a Tony Scott motif that he's done before. He does it in Crimson Tide, where it's, he sets up these little interesting characters that could almost, they're like under five guys or almost, they could be extras almost in the back. I mean, like, Lou Temple doesn't look like an extra. All right. But the point being.

is there a smaller character that grows a little bit more. You see him, you think he's just going to be what he is in the first act. Then he grows into a more important character in the second act. And then in the third act, he saves the day. That happens in Crimson Tide, all right, with Vossler. Yeah. The guy whose job is to fix the radio. Yes.

Where it's like, well, there would be nuclear war if Vossler didn't fix the radio. And Denzel says those words to him. Yes. You know, it's like a war is going to happen in a nuclear war, but two sides, this crew is going to break up, and they're going to have a fight, and they're going to literally combat each other. And unless this radio starts working, depending on who wins this fight, there will be nuclear war. Right. All right. And the only thing stopping it can stop it is Bosler fixing the radio.

So the fact that he does it a second time, all right, where a minor character comes in and saves the day. But as good as it is in Crimson Tye, when Ned pulls up in that red truck and you realize he's going to save the day, it's, you're related. Also, you have no idea losing your spirit moment. It's like,

you don't know why Ned's, when she's like, Ned, get back in your truck. You don't hear her other end of the conversation when she explains to him why she would possibly want him

to be doing that. And so for the rest of the movie, it's just really Ned driving every few minutes you get a cutaway, but you don't know why. he's driving, like, is he trying to, like, is he going to do something to the train? Is he going to throw the truck in front of the train? Like, what's he doing?

And then when you find out, oh, he's just going to outrun this train, this is like, you know, it's incredible. The Joey Pants Award. It's so many. Yeah. So many who choose from. I wanted to shout out, you guys can pick who you want. Kevin Dunn, his Galvin, the boss. Kind of a sneaky great IMDB.

He was the good guy in Dave. He was the one who turns on Frank La Inchella. He was in war. Warrior. He was in Draft Day. He was the dad in Mad Love with Drew Barry were. He was in Little Big League. He was in Veepe. He's just one of those guys. I always think him as a guy in Vee. Yeah. Right. Yeah. But he's one of those guys. And I don't feel like he became Kevin Dunn until Veepe. Sure. Where people are like, oh, that's Kevin Dunn. But before that, he was just like that guy who's been in a bunch of movies. Yeah, I remember I remember the time. I remember when he's in Bonfether Vandies. I remember when I saw him in Bonfether Van Nuys. Oh, wow, he's that guy.

Yeah. Right. Because I just saw him in something else. And then that's when I started seeing him again and again and again. So I think the winner of the Joey Pantswear, because I think Kevin Duns ineligible, would be Ned. Because I see Ned now, and I just... He's only walking dead and stuff. I think Corrigan could go into the Joey Pants and the... I kind of... I kind of...

I think of Corrigan, actually. Okay. You know, now when you have like, hey, look, that's so-and-so, all right? You know, there is the gal who's on 911, all right? Yeah. Hen. Yeah.

Henrietta, 911, is the woman who's leading the kids on the... train thing. That's right. As if she's playing Henrietta from 9-1-1. But I kind of think it's Corrigan. I love how weird he gets with just like his safety inspector guy. That's how they make glue. Is it weird that I just think he's Kevin Corrigan though?

Is he that guy? I think of him as a that guy because he's done so much character. Because there's another that guy, the guy who's always the Boston guy in every movie. Kevin Chapman, I think his name is. He's been, he was. He was the guy with Rosara Dawson. Oh, okay, okay, that guy, yeah. But that guy's in Boston movie.

The guy who plays that guy, yeah. Yeah, he should probably actually. Well, when I think, I mean, the reason I, the reason I think that Kevin Corrigan is that guy is because, you know, he was a staple of independent movies in the 90s. Yeah, sure. All right. So, he was a staple. So to actually see him in this big action-y kind of thing, playing this kind of cool standout little character is like, oh, hey, that guy. Yeah, yeah, that's good.

Linda Partridge, they knew overacting word. I didn't really feel like. Nobody really goes over there was a notable overacting format. So I'm going to leave this one vacant. Apex Mountain. Could you make the case for Hooters? Is there ever better Hooters moment? This is the height of Hooters when they're opening Hooters all over the place.

It's also like a really heartwarming hooters scene. It's just like people like working through college. After being run through the mud in Big Daddy. Yes. That's right. Hooters is sort of redeemed and unstoppable. It's true. Instead of what, ain't it?

If you actually were a waitress and hooters and you watch Big Daddy, oh my God, all these jokes, I got to listen to you for the rest of my life. Oh, finally, redemption. I have no other Apex Mountain unless you... Unless you guys think it's pine, that's really good. Yeah, well, no, that was what I was going to... That's what I was going to say. I actually think...

Oh, interesting. Yeah, I think... I would have thought Star Trek for him, but I guess maybe it says... Well, Apex Mountain isn't the thing that launches you. True. I was trying to think when he would have the most kind of sway power or whatever. I mean, yeah, I think this, you know, he gets it because of Star Trek. And this is his first chance to really show his movie star leading a big movie with a big director

alongside a big star and holding his own. Yeah. And it's also a classic Hollywood move. Okay, this guy has established himself in this movie over here. Let's put him with an older, established male actor and, you know, and then see the two of them work together. takes the guy along to the next step. And I think a case can be made that Pine hasn't taken the next big leap, right, from

unstoppable. He's waiting for you. I'm just got to write him a great part. I'm the biggest fan of him. So if I had the right part, for God sakes. I would. I'd like to. The half-fast internet research, so we didn't mention the top.

This was inspired by a 2001 incident where a runaway train ultimately traveled, 66 miles through northwest Ohio. And the supply part, I think, in the beginning, is relatively dead on. I don't know if he was as goofy. Like, they go to great pains to be like, here's all the procedures that this guy did follow, and they never named him in the,

so when they did the reporting, like he was never outed. But it sounds like, you know, he wasn't as goofy as supply was and the mistakes that he made. Like, they, like, the air brakes thing, like they don't attach the air brakes when they're in the yard. So it wasn't, like, completely stupid.

Like, I'm just crushing a burrito and I forgot that the train was moving kind of thing. Well, two of the train's cars contained thousands of gallons of molten phenol, a toxic ingredient of paints and dyes. And that's what they were worried about. It got up to 51 miles an hour and then it stopped. Another one, Chris Pine performed all of his own stunts. Denzel apparently does not like heights. It did not want to get on top of the train.

Tony Scott. Jedi mind tricked him into going up there. He was on wires and stuff. I think Denzel did an interview after the movie came out with Tony where they were asking about this. But he said,

I did this stunt because I didn't want to be the guy doing interviews after the movie came out being like, why didn't you go up on the top of the train? And apparently the train was empty, so it was rocking even more than usual. So it's pretty difficult, but he's a good athlete.

That's all I got. There wasn't a lot of half-ass internet research on this one. The recasting couch? I'm not a Darcy fan in this movie, so maybe I would have maybe explored somebody different. A little Amy Smart, something like that. You know, like, who's 2011 Amy Smart?

Maybe a little Michelle Moynihan. You almost think it is Amy Smart. Yeah, right. I was like, is that the crank girl? Michelle Moynihan, maybe, I don't know. Pick a Knits. All right, it's time. Why not attempt the guy jumps into the car trick sooner?

Yeah. Maybe try that, I don't know. Before you hang a guy out of the day of the helicopter. I would have tried that before the helicopter. The helicopter would have been after it didn't work where people could just drive next to the car and somebody jumps on. Well, I mean, look. Decent nitpick. That is a decent nitpick.

I mean, it's also one of those things that they could get out of the way by saying, well, you know, well, for the next, for the next 50 miles, there's no place. Right. Where a car could actually catch up and do it. Yeah, exactly. Okay. How did they get with the Pittsburgh local news? such fancy graphics and such great expertise from the anchors about what happens with runway trades.

These people were versed the same way it would be versed during like a Lakers trade on ESPN. I'm not trying to argue against this, but I mean, I think I see stuff all the time now. I mean, they're plugged in. Did you see the graphics though? They had like maps and color code. They were just lit in a row. Maybe runaway trains in central Pennsylvania are like carjackers in L.A. Like they just have the runaway train graphics package.

Well, no, wait a minute. No, I mean, look, they know that this is their local audience. And people know about that X curve and they know about those tanks of whatever. So it's like, oh, so here's what could happen. I don't even feel like L.A. would treat it this extensively. It was probably the biggest thing to ever happen to fictional stint in Pennsylvania. It would mean that they say, you know, and he stopped the trade. He is a hero.

Everyone in Pennsylvania. He is a new hero has risen in Pennsylvania. I should have put that in Apex Mountain, Pennsylvania. How long did it take before they put the train rescue on at Hooters? Because I'm going to say it is never on a TV there. They just have games. They probably got like sports center on all day long. Nobody's like, hey, turn it to the runaway train.

Well, no, the girls figure it out. The girls start figuring it out. And somebody obviously calls the girls. And he calls them as I love me. So they make the manager put it on. Yes, exactly. Yeah. Okay.

Some weird, some dudes in the corner. Don't you go to Hooters to watch the news? Yeah, I think they're watching sports. So I saw this on the internet. Massive plot hole. When they send another locomotive on the track to try and slow down the runway train, all they had to do is have the locomotive bump in front of the runway train and then put a driver on the back of that train and just jump onto the other train.

And there's a person on the internet that was claiming this would have worked on the movie ends immediately. That's no fun. I don't, my thing is then the movie's 10 minutes on. Well, they also, when you're doing that, they have the dead zone. They never connect. He's only bumping it. So that would have been a really difficult jump frame. I don't know about that way.

Yeah, I mean, jumps that seem like they, you know, one of the things that's interesting about this movie is stuff that you would think you'd be able to do. Even Ethan Supply. Catching the train. But then, you know, that stuff actually is harder in real life. Yeah. And the movie actually sells. When Denzo gets stuck, get stopped, but he can't go any further.

Well, why don't you do this and why don't you do that? Well, Quentin, that's you just saying that. Yeah. I think they kind of, I'm buying their expertise of like, okay, now we're kind of screwed. Any other nitpicks? Yeah, a couple. Go ahead. A couple, Bill.

Let's hear. So we're basically made to think that this is a 80 mile an hour traveling Chernobyl. Right. But it seems like no one can get away from it. Like everybody is like in Stanton where it's like if this thing goes around this curve, it's going to launch all this chemicals into fuel tanks. Also, the train itself has diesel gas. But in the meantime, the entire.

town seems to have turned up at the train tracks to watch this. Where it's like I thought everybody was evacuating, but Darcy's like, I got to bring my kid to Ground Zero. Where is going to crash? You can see it, all right? No, I mean, I thought the whole idea was to get rid of the title. Let me take my son. There should be no one.

It should be choppers and everyone else should be in Philadelphia. So you're saying like the state should be evacuated. It's like go to Ohio. At least that town, but the fact that they can actually show up to where Ground Zero is where they're expecting a crash to be a looky-loo and you take your children to see that? Yes. Also. Like it's a hanging in the West?

I don't know a lot about what we do and don't ship on trains. But it does seem like you know, you've got molten phenol and grain. What's up with that? So like you're going to bring like a toxic chemical also with like a farming subsidy? Different cars. No, I don't. Yeah, no. You don't buy that.

No, they make their money getting things from here to there. They're not thinking. What car is a different car? No, they move stuff. There's the biggest thing I have, though. You had one, right? Well, yeah, I have a huge one. Yeah.

That I can't believe you guys didn't say. It's my only real, real, real, real one. The fact that he puts the gear shift, all right, in independent and then it just like it's... It just shifts out. Like it's like in final destination, all right? It just moves on its own. to fall out throttle. Now, I,

it's, you know, it's the only bold-faced thing 100% in, well, I mean, there's a lot of bold things, bold-faced things in the movie that are meant to goose you up, whether it's a train full of kids that the train almost hits or the horse that it almost hits.

And it's why I actually find the S-cur, or the big circle curve, and then the, all those gas things, that would just be, blow up everything. The reason I think it's ridiculous, but I buy it because it's fun. Yes. It's exciting.

It's fun. I mean, yeah, Jaws could take place in the winter, all right? But it's just more fun to have the beach full of people. Yeah. See, I took it as he just forgot to lock something on the handle. Because he thinks he's going to be able to get back in. Yeah. Yeah.

I took it as like a human error, forgot to push the safety thing. The way they shoot it is like a ghost. All right. But like there's a, but another. Final destination. But it does feel like final destination. I don't know. Well, okay.

Well, like he needs to get a started and then we forgive it. All right. But the thing is, though, there seemed to be a moment where they actually seem like they're going to deal with it. When Rosario Dawson is talking to Dewey, and she was, okay, now, do we go back into your little recesses of your brain? Yeah, yeah, yeah. And explain. I think, oh, they're going to now explain that he put it in independent. But if you put it in independent, it also, there also has to be something else you have to do.

And if you don't do that something else, then it could slip. Yeah. And then she doesn't do that. I mean, they actually seem like they're going to set it all up. And okay, and I don't know anything about engineering, but okay, and it doesn't even have to be true. Yeah. All right? But I'll buy it for this movie.

And then they don't do it. They don't address it. The only other thing that I did, the only other nitpick I had was the shooting at the train plan. Just seemed bad. Yeah, that seemed like a bad idea. Just seemed like you had like a one in 100 chance of that working. And then the other 99 are really bad results. It's like right into the gas tank.

I know. That's a good one. Okay, there is one other one. And when Chris Pine and Denzel decide to go back for the train and catch it. Yeah. Before they've actually talked to Rosario and before they get Galvin involved in it. And they're just kind of on their own trying to do it. We see shots of like the news helicopter following them.

Yes. All right. Now, I know why that's there because they wanted to use the footage. The news helicopters in every shot they did of the train. Now, the news helicopter does it. know what they're doing yet. Yeah. And why they're doing it and why they should be filming this.

But it's there. Now, it's now, look, you can, you can explain it where the movie could explain it. Well, you know, there was news helicopters and they saw the almost missed and they see the trains going. So why not follow them? And like, hey, why is this train going here? And that could be what catches everybody up to what's going on. But no, you know what it is.

They're using footage. They're literally using footage that was meant for a different time in the movie. They want to use it there. And we're used to seeing the helicopter, so we're not going to ask. But it's odd. Now, look, I'm down with cheating. I'm down with using footage that was not meant for something and using it or someplace else. But the whole point is to pull it off.

Yeah. And in that moment, they don't pull it off. I know what I'm looking at. Right. Right. That's fair. Could this be remade is a 10 episode Netflix show? I'm going to say no.

No, I'll say no. No, but I would fucking love to see him try. It's up 10 hours. Episode 5, Transcendment. Still going. Yeah, the train's in D.C. now. Oh, my God.

Just took out some more horses. Probably unanswerable questions. What's going on with Denzel's daughters, exactly? They're just working their way through college, Bill. But what a delightful two characters that they don't explore at all. Oh, yeah. And it's just like, they're just two. Happy students.

You know, they could spend some time with the McKin. Look, I mean, it literally is, you know, almost the thing you don't like about Darcy. It literally is a situation of a case where, they cast two perfect gals in that part, man. I mean, like, you know, they don't really have a whole lot of dialogue, but, like, they light up the screen. Yeah. You can tell that he's a great father. You can tell the, you know, that they love him.

No bitterness at all from either of them. They're just busting his balls, yeah. I wanted a spin-off where they're just happy and they're just putting themselves from school. I mean, every time we see them, like, you know, smiling or worrying, I'm like, I'm just, I'm happy. Even at the end, Rosary Doss and kisses them, cuts to them, they're just super happy. These are the happiest daughters who've ever been in a movie. Greater Pennsylvania action movie. This or striking distance?

This one. Distranging distance. Incredible. Sjp. is in that. Local Coast Guard movie. Bruce Willis. That's what I like about Strait.

I don't like the serial killer part in it, but I actually like the fact that it's about the Coast Guard. That's what I actually like about it. Willis is at this great point in his career, and he's just sifted through these scripts, and he's like, hey, what's this Pittsburgh Coast Guard movie? I can't get on this. That's a weird movie where...

This thing's going to be hot. It's like, it's a car chase in the daytime. I can't remember if it's at night. It's a car chase at the daytime, and then they crash, and then all of a sudden it's daytime. Or it's the other way around. The light changes quickly in Pennsylvania. That's a movie that actually would have been better as a 10-episode Netflix show.

They tried to pack a lot of stuff into... There's some coast car, there's some mafia. This is a question for Quentin. Do you feel like anyone has ever fully 100% unlocked Rosario Dawson in a movie. Tapped into all the things we all like about her that obviously a lot of directors have been enchanted with. She's played some interesting characters.

Do you think she has had her Apex World yet? No, I know she hasn't. Because I feel like the answer is no. Yeah, the answer. She has shown her incredible charm, and she's shown her incredible connection that the audience has with her. You just like her.

Yeah. And you like following her. And, and she has shown that. But, you know, has she ever, I don't think she's had that role. I don't think she's had that role that, that takes it, that, you know, where the, she needs a movie built around her that has that kind of, her character has that kind of connection with an audience. She reminds me of, like, those NBA players we like that never totally found the right thing.

Sure. And even Clerks, too, this movie I wasn't crazy about. I thought she was great. She's terrific in it. Yeah. Yeah. And there's been a lot of moments like that with her. Like, oh, man. She's amazing.

She's wasting her again in this line. Look, she doesn't win the game, but the game doesn't get one without her. Yeah. Yeah. If you're talking about, you're making player analogies. She's like Robert Hoare. She does the Ed Harris part in Apollo 13 in this, and she does great with it. So you have to write a movie for Chris Pine and Rosario Dawson. This is when you leave, just go to a coffee place.

Well, you just kind of insulted me because I actually put Rosario, Rosario-Dolson is in death-proof, right? Is she the lead, though? She's, she's pretty much, she's pretty much the lead of the second half. Yeah. It's not the lead, though. Well, who's the lead? It's like those three girls.

They're the leads. And she's one of the three girls. He's the bad guy. Yeah, I don't know. I want to see her in like a 2019 Kramer versus Kramer type of movie. I want to see her like going through a divorce. Okay, let me ask. She's the hero.

She's one of the three heroes. Yeah. All right. She's one of the three. He's the bad guy. She's one of the three heroes that take him down. Sure. I want to see her like Silkwood type of movie.

Oh, you want the Merrill roll for her. I want like the Merrill Street roll for her. Something where she, you know, has to carry a movie. No, but here, I actually, I'm not exactly sure that if I want to see her in an arty movie or a social drama kind of thing. I could see her. I could see her in anything. She's a really terrific actress. But I actually think, I actually think something more genre oriented, all right, where she gets to be a movie star.

And like I said, uses that wonderful empathy. that she has with the audience and the audience has for her. I actually read a book that was actually a pretty good book about, and I always thought Rosari would be fantastic for it. And it's a World War II speculation book

about that maybe Roosevelt was assassinated. Oh, wow. And the way the assassination worked is a woman from an Arab country was sent to America and she posed as a black maid. And the whole point is to

eventually get into a room with Roosevelt as his maid and put cyanide in his coffee. No way. When did this book come out? It came out about 12 years ago. And I read it and like and there's a really good book. And as I'm reading it, it's like, God, Rosario would kill in this role. She'd be fantastic on it. I gave her the book. Roosevelt, that's not on my conspiracy corner. I got to do some research today. Who won the movie?

Oh, can we just do a couple of best quotes? Oh, yeah, go ahead. I just wanted, because I wanted to shout out, you know, because speaking of Rosario, she has one of the best lines, it got away from you. How the hell did this happen? Just got away from you. It got away from you.

It's a train, Dewey, not a chipmunk. I really like that. I really like Mr. Galvin, this is Will Colson, your conductor, letting you know we're going to run this bitch down. Mr. Galvin, this is Will Colson, your conductor. I'm letting you know we're going to run this bitch down. Yeah, that's good. And then Ned has the line of the movie.

Do you like your pussy! Jump in the back! What is you? Actually, I think all of Ned's interview, all of Ned's interview, all right, at the hero ceremony. Yeah, that was funny. We should put that in rewatch. We'll see it. Ned.

You. Ned, were you worried? Was I worried? Nah, not really. It's all about precision. I wouldn't have undertaken. Who won the movie? I'm going to say Tony Scott.

Tony Scott. Yeah. Okay, but you know what? I will make one case for the train. Yeah. 777 won the movie. Yeah. All right, the train won the movie.

All right, because, I mean, I think it goes without saying that it's probably Tony, but I think a case needs to be made. It's one of the only things I don't think I got across as much as I wanted to was how. And so I guess this even goes back to Tony. because actually if the train is going to turn into King Kong, then it's the director who did it. The train becomes a monster. And it's really interesting how that happens because it doesn't happen at first. No, man, because it's not like Jaws where it's always the shark.

Yeah. And it's like it's a combination of its first couple of big impact moments where it's like you see how unstoppable it is. And you see how powerful it is. And the train even has its own theme. Every time, like, it busts through and it just, it can't be stopping and it keeps on going. That kind of, like, weird thing. And it's almost like King Kong walking through the jungle, taking on all comers and winning all comers. Also, even the fact, the fact that 777 keeps being stronger and faster than anybody involved with the train wants to give it a credit for.

Right. All right. And they keep thinking they can stop it. and they keep thinking it's going to be okay, and they're wrong. 777 keeps going on. It takes on all comers and always ends up victorious. And every single battle it does. And there's also another thing because it starts getting like character qualities, all right, that it didn't have before.

Like, for instance, when Rosario talks about derailing the train in the field, well, you're kind of thinking that's a pretty good idea. They should do that, all right? And you know why they don't, but that's a good idea. Oh, that's obviously what they should have done. And you're kind of down with it because the train, it's just a runaway train at this point. Right. All right. But after it just ends up being victorious here and victorious there.

And it's getting scarier and scary. But it's also, it's getting more impressive. And it's getting more impressive. And they're all kind of sounding a little silly. Yeah. And they're all kind of sounding stupid that they don't realize that they're dealing with this incredibly powerful beast. And one of the things you like about Denzel is he actually seems like he respects the train. He understands the train.

And by that point in time, now you don't want the train to be derailed. You want it stopped. Right. It doesn't deserve to die. Right. It doesn't deserve to be destroyed. This is the greatest train they've ever had. That's what they do.

They just hit the brake on it. They don't blow it up. They don't knock it off the trash. But you don't want them to ruin it and derail it. You actually are invested in them stopping the train. It is true because in the wrong hands, the train somehow blows up and end the movie because that's what we're conditioned to see. Yeah.

Is the monster dying or going down like in jaws? Yeah. And that's also... His train just kind of stops. Yeah. Well, that's one of the cool bits about the engineer Judd getting his train derailed that we get to see, oh, no, this shit's going to blow up. Yeah.

This is fucking it. Yeah. And it goes, like, this is what's going to happen if we do derail this train. Yeah. He's like, look at what happens when a train explodes. I forgot to put this in probably in answerable questions. So the movie's ending. They do the press conference, the whole thing.

And we're going to end. if they had cut to the train and the train just started still the movie again? Would you like that or not like that? It's like, oh my God, it's alive. All right, so we say Tony Scott who won the movie? All right, this was fun.

I'm glad you chose this movie. It was really fun to dive into it again. Me too. We're doing one more. We're doing King of New York. Teen New York. When we're doing that Thursday? Thursday.

Yeah. So there you go. Thanks. Quentin Tarantino. Thanks, Chris, Ryan. You got it. it, man. You got it. All right, thanks to Quentin Tarantino for doing that. He's coming back one more time next week. Thanks to Pepsi with the new year officially here and everyone vowing to restrictive

resolutions. Pepsi wants to usher in the new decade a bit differently by encouraging everyone to unapologetically do what you enjoy, even in the face of others' judgment. Like me with horror movies. I just like bad horror movies. I see a new one available to be rented on Apple or Amazon on any of these places. If I see a picture of a house that looks scary, I'm probably renting it. I'm not going to apologize. Pepsi, that's what I like.

Back here next week on The Rewatchable See you then.