Andrei Konchalovsky
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At which point “Snowpiercer” sheds the close-quarters claustrophobia of the first half (which nods to such classic cinematic railway fare as “The Narrow Margin” and “Runaway Train”) in favor of a more expansive vision.
It’s a tradition that runs from Hitchcock’s Lifeboat to the likes of Cube and The Raid (for static, or relatively static locations); and taking in Speed , Runaway Train , Air Force One , and Lars von Trier’s Europa (closed spaces that actually move).
The quest of the bedraggled tail-enders feels like a bloody “The Wizard of Oz” set on a “Runaway Train,” with each section they assault a revelation.
Then there’s Andrei Konchalovsky’s Runaway Train and the hellbent rapture of Denzel Washington and Chris Pine trying to brake the runaway in Tony Scott’s Unstoppable.
If you must, it’s Runaway Train meets Brazil — Kurosawa and Gilliam, together at last.
Fast & Furious Presents: Hobbs & Shaw (2019)
Directed by David Leitch
influenced by Tango & Cash (1989)
Characters Themes Plot
There’s a very Tango & Cash vibe going on where the two beefed up super agents clash and spout insults at each other throughout, which is of course a continuation of their dynamic together in the 8th Fast/Furious movie and the kernel of the idea for this film.
Reminding me a great deal of 1989’s Sylvester Stallone/Kurt Russell cartoonish (if still slightly watchable) showcase Tango & Cash as well as director Stephen Sommer’s 2004 abomination Van Helsing, this is as annoyingly bludgeoning a major Hollywood spectacle as any I can recollect in ages.
(CNN) "Fast & Furious Presents: Hobbs & Shaw" is an awfully long-winded title for a movie with roughly the same plot as the 1989 squabbling buddy vehicle "Tango & Cash," only with bigger -- well, pretty much everything -- and better special effects.
It’s a mismatched buddy picture aspiring to the spirit of 1980s cable staples like “48 Hrs.” or “Tango & Cash” in which the leads spend as much time busting each other’s balls as they spend breaking bad-guys’ heads.
Two things that this Tango & Cash clone has in spades.
Fans of buddy action flicks of the 80s and 90s, such as "Lethal Weapon," "Tango & Cash," "48 Hrs." and "Midnight Run" will be right at home here.
The best one was probably “Runaway Train,” starring Jon Voight and Eric Roberts .
They always have worked well together, and this film, not to be confused with the 1985 movie "Runaway Train" about two escaped convicts aboard such a vehicle, is no exception.
Two other films that come to mind are Buster Keaton's "The General" (1926) and Andrei Konchalovsky's " Runaway Train " (1985), which won Oscar nominations for the two men in its locomotive, Jon Voight and Eric Roberts .
It's almost impossible to write about a runaway train movie without mentioning Andrei Konchalovsky's 1985 thriller, Runaway Train .
The actors get a lot more to do in the admittedly brisk second half of Unstoppable, but the filmmakers come up with a surprisingly small number of cliffhanger scenarios involving the speeding locomotive: 1985’s Runaway Train, although a dramatically different picture, did infinitely more exciting things with its premise.
That was the year Eric Roberts and Jon Voight starred in Runaway Train, capping off a couple decades worth of movies and made for TV endeavors in which the railroads lose control of a locomotive, sending it willy nilly down the tracks towards a heavily populated area with no way to stop it.
Hot Fuzz is basically a spoof of cop buddy films like Bad Boys , Tango & Cash or anything by Tony Scott, but the comedy comes from blending these exciting action packed American scenarios with everything mundane and boring about a quintessentially British village.
For starters, there is the ingeniously conceived screenplay by Pegg and Wright that, like “Shaun of the Dead,” fuses together two seemingly incompatible genres–the more-is-more American-style spectaculars like “Tango & Cash,” “Point Break” and virtually anything featuring the names Jerry Bruckheimer or Joel Silver and the kind of quirky British mysteries best exemplified on the big screen by “The Wicker Man” and on the small screen by “Prime Suspect” or “Midsomer Murders”–in a manner that allows each to complement the other in unexpectedly effective ways.
The King of Staten Island (2020)
Directed by Judd Apatow
influenced by Runaway Train (1985)
Characters
Tomei, vulnerable and warm while digging in her heels, and Burr, casting shadows of John Voigt’s macho prison escapee in “Runaway Train,” is affable and complex beyond the script.
Joe Carnahan's own throwback Copshop is considerably better, mainly because it chooses to rip off stuff like Assault on Precinct 13 and Tales from the Crypt: Demon Knight --oh, and its vibe is Tango & Cash or The Last Boy Scout : everything I like in a small-environment thriller married to all the bombast of a '90s Shane Black vehicle--and just as inappropriate and ugly as that sounds.
It’s where some of the great action movie bromances – Riggs and Murtah ( Lethal Weapon ), Utah and Bodhi ( Point Break ), Tango and Cash (erm, Tango & Cash ) – have manifested amongst the sound of gunfire and action heroes cracking wise.
The legacy is a long one: "Beverly Hills Cop," "Tango & Cash," "Starsky & Hutch," "48 Hrs.," "Men in Black," "Turner & Hooch," "Miami Vice."
His Snowpiercer remade Kurosawa’s Runaway Train into an Orwellian allegory.
This includes being in charge, seducing ladies, and lobbing lame homo-erotic jabs that seem straight out of Tango & Cash.
Fold in that filmmaker's unexpected love of 1980s action trash; really indefensible stuff like "Tango & Cash."
Sylvester Stallone is in this thing, too, though a formal Tango & Cash reunion is one kitsch reference left unexplored.
Maybe it was some sort of contractual reunion obligation with Russell dating back to Tango & Cash…
(Alas, he and Russell never appear onscreen together to catch up on what they’ve been up to since Tango & Cash .)
Sylvester Stallone, who is not required to wear heavy makeup, makes a brief appearance as a renegade thief, and while he doesn’t share screen time with Russell, we’ll just go ahead and call this a Tango & Cash reunion.
But Stallone was always better loved in those guises than in generic action work, and this film ranks very low on a resume that includes such detritus as “Cobra,” “Tango & Cash” and “Assassins.”