Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
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Robert M. Young
Edward James Olmos,
John E. Coleman
Four hijackers led by Vincent D'onofrio seize a subway train in the middle of a tunnel and hold 14 hostages for a $5 million ransom. Edward James Olmos and Lorraine Bracco are the officers assigned to work out the release of the passengers. However, even the murder of some passengers are met with an apparent calm by everyone involved. The murder of a subway supervisor prompts everyone to shake their heads and go on about their business. Written by
John Sacksteder <firstname.lastname@example.org>
Shot in Toronto's TTC subway system, mainly using the system's only abandoned station platform and two of a class of older cars being retired by the TTC. The two cars were shipped by road to the scrapyard the day after filming ended, still disguised as New York cars. See more »
The Toronto subway cars used for filming cannot operate singly, so a two-car set was used. The single car supposedly detached from the front of the train can be seen on several occasions to be part of a train of at least two cars. The most obvious cases are when rounding curves: once when first moving forward after being detached, and later when Anthony has just figured out the hijackers' plan. See more »
I don't think this 1998 remake was too bad, provided you regard it as a straightforward hostage film.
It uses some of the best lines from the original almost verbatim (eg, "A person likes to know how much he's worth", "Do they still have the death penalty in New York" "I've always done my own killing" etc) which is ok, but I can't believe that Mr Blue in the 1998 film would not know the death penalty status in what appears to be his native New York. In the original, the Mr Blue character was clearly British, and might be excused for not knowing the death penalty status in all 50 US states.
But as one other observer observed, the 1998 lacks .... WALLY MATTHAU (and to some extend George Costanza's dad also).
The 74 version could almost have been sold as a comedy, but not this one. It's a straightforward tradesman like version without the wit, irony, pathos and dulcet tones of Wally Matthau
Certainly worth watching if you love the 74 version so you can do a 'compare and contrast'. If you have not watched either, and you only want to see one of them, see the 74 version.
The final scene is worth the wait (in both versions)
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