Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film.
When ruthless oil prospector, Daniel Plainview learns of oil-rich land in California that can be bought cheaply, he moves his operation there and begins manipulating and exploiting the local landowners into selling him their property.
John McClane is back and badder than ever, and this time he's working for Homeland Security. He calls on the services of a young hacker in his bid to stop a ring of Internet terrorists intent on taking control of America's computer infrastructure.
Top London cop, PC Nicholas Angel is good. Too good. To stop the rest of his team from looking bad, he is reassigned to the quiet town of Sandford, paired with simple country cop, and everything seems quiet until two actors are found decapitated.
Have you watched RR yet? What did you think about it?