Amazon MGM Studios’ ‘Unstoppable’ is a competent sports drama that finds its strength in the acting prowess of Jharrel Jerome (Moonlight) as Anthony Robles and Jennifer Lopez (Maid in Manhattan) as his mother, Judy Robles. The pair are surrounded by high-level veterans Michael Peña, Don Cheadle, Mykelti Williamson, and Bobby Cannavale, while Robles’ younger siblings and teammates are convincing in their roles.
Through his deeds, Robles became a hero to many who could follow his career. This helps us understand the more conventional directing approach of William Goldenberg, an Oscar-winning editor who collaborated with directors Ben Affleck, Michael Mann, and Kathryn Bigelow. The pace of the images, together with lighting and other technical elements, furthers the experience.

Goldenberg’s competence gives Jerome and Lopez room to present their layered performances. Jerome brings a determined and conflicted Anthony Robles, who goes from finding his place in the world to the determination to see in very committed professionals. ‘Unstoppable’ is at the same time a sports drama and a coming-of-age story. Jerome’s down-to-earth performance makes the screen wrestler a full-fledged human, not an unwavering superhero nor a character that brings pity from the viewers. This role positions Jerome as one of the best performers in his age group and led him to 2025 Bafta’s “EE Rising Star Award” nomination adding to a career that has powerful showcases in ‘Moonlight’ (2016) and the series ‘When They See Us’ (2019), not to forget that the actor played an amateur wrestler before in ‘First Match’ (2018).

Jennifer Lopez finds in Judy Robles a vessel to display a motherly persona with a vulnerable spot. The Robles are a big family, and Judy has to juggle work and keeping peace in the household. Lopez knows how to portray true happiness or when the character is faking it; playing a struggling woman shows a different side of a worldwide entertainer who comes to the stage as one of its brightest stars. Lopez’s acting in ‘Unstoppable’ is pretty different from ‘Maid in Manhattan’ and ‘Hustlers,’ as out is the endearing Latina help who dazzles with Ralph Fiennes and the sex bomb stripper Ramona, who, with her crew of dancers, scams Gordon Gekko wannabes while looking for the best interest of her daughter. Judy is the mother of many and the wife of a psycho. The stress of daily life can be seen in her eyes and facial expression and heard in the tiredness of her voice.

Hollywood, in particular the critics, try to pigeonhole Lopez. Still, looking at her career, it is noticeable how she has grown over time. It is not a stretch to position that she has learned a lot from past cast members. World cinema legend Sônia Braga portrayed Jennifer Lopez’s mom in two opportunities. There are shades of the notorious Brazilian acting in Lopez’s performances.

The narrative of ‘Unstoppable’ has an edge by portraying the abusive household that was made into a living hell by Rick Robles. Cannavale interprets an antagonist who is worse than any wrestler he has faced. ‘Unstoppable’ depicts a triggering toxic environment and portrays how seducing and psychotic abusers can be and also how the environment an athlete hails from can affect their performance. As seen in Anthony’s match to join the Arizona University State team, the audience will remember Rick Robles with his treats and machismo-fueled speech more than the opponent competing with Anthony for the spot. Cannavale has the threatening appeal of a wild horse 70s star, a profile lost in the current landscape.

The matches are another asset to the picture. Audiences are used to seeing boxing bouts in movies, and it is easier to understand the sweet science movement when compared to wrestling. Thus, fewer movies focus on wrestling as this combat sport is less popular. Nevertheless, ‘Unstoppable’ translates how gruelling and relentless high-calibre wrestling encounters are with attention-grabbing action that holds the attention due to its choreography, camera work, and editing, but the main component here is the stunt team. The real Anthony Robles worked as Jerome’s stunt double.

This film crosses from the sports drama genre to the mainstream, including staying above those depicting wrestling, which, although an ancient combat art with high cultural and historical relevance and an Olympic Games staple, is a niche sport in the modern era commonly mistaken with the choreographed pro-wrestling. ‘Unstoppable’ deserves a longer tenure in movie theatres. This picture is more enjoyable when watched with family members on a large screen because it can unite people considering that we dwell in polarized societies. There is a need to bond with others; cinema is a way to connect people with a collective emotional experience, and ‘Unstoppable’ does this.

The post Jennifer Lopez and Jharrel Jerome Shine in ‘Unstoppable’: The Inspiring True Story of Anthony Robles appeared first on Big Picture Film Club.

Today we will look at why we think it is important to include the survivors or the families of victims in the making of tragedy-based films. We will analyse examples of films that have achieved something, through their collaboration with people affected by tragedy. As well as the potential negative impact not involving those affected can have.

Bearing Witness

There are several reasons it is important to involve survivors or victims’ families in films based on real-life tragedies. Firstly, it helps provide a sense of care and common decency. It helps those who have suffered pain to feel their feelings are being taken on board, not ignored.

Secondly, involving affected people (directly or indirectly) and listening to them when it comes to creative decisions allows the narrative to be closer to their experience and allows the potential for it to be closer to what they need. By taking on their input it can help shape the film to provide closure, a fuller portrait of life, and more that can lead to positive outcomes for those affected. In summary, it gives power to those affected and provides opportunities for healing.

And giving those affected a say in how their story is told helps create a more welcoming environment. Thereby encouraging others affected by real-life tragedy to speak up and tell their stories.

Films Involving Those Impacted

Two films that have shown the benefits of involving people affected by tragedies in the production process include Fruitvale Station (based on the police shooting of Oscar Grant), and She Said (based on the Harvey Weinstein case).

During Fruitvale Station’s production director Ryan Coogler met with members of Oscar Grant’s family to discuss his life. This helped inform the characterisation of Oscar, which Grant’s family found to be very accurate to his personality. And Coogler’s focus on Oscar’s life rather than the tragedy that killed him, an approach he discussed with the family, helped provide some comfort to them. As they hoped the movie would encourage conversations around change.

Meanwhile, She Said involved several survivors of Weinstein in scripting discussions. As well as discussions with the actresses portraying them. And some also acted in the film. This process provided catharsis and a sense that the industry is starting to value survivors’ creative input more. 

Why Their Voices Matter

When dealing with real-world events art can have tangible effects on the public and those affected by tragedy.

If the concerns and experiences of those affected by tragedy are not taken into account then it risks further entrenching harmful ideas in public discourse. Such as devaluing the testimonies of those affected and evidenced research in favour of creative license. As well as opening the door for potential sensationalisation of a story and deviation from accounts of what happened. Which can dehumanise and trivialise survivors or effected people’s experiences in the public eye. And it risks re-traumatizing those involved.

Of course, other improvements still need to be made regarding the cinematic telling of these stories. For example, She Said, despite its positive inclusion of affected voices, has also been said to play into harmful tropes of reporters needing to tell victims’ stories. As they are seen as more palatable. But more filmmakers must start taking the input of survivors and affected people seriously. So films based on events that altered their world forever can serve not as eternal monuments to their pain but as something that can help people to heal.

Also Read: The Eternal Appeal of the Boxing Movie

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