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.
In early afternoon, four armed men hijack a subway train in Manhattan. They stop on a slight incline, decoupling the first car to let the rest of the train coast back. Their leader is Ryder; he connects by phone with Walter Garber, the dispatcher watching that line. Garber is a supervisor temporarily demoted while being investigated for bribery. Ryder demands $10 million within an hour, or he'll start shooting hostages. He'll deal only with Garber. The mayor okays the payoff, the news of the hostage situation sends the stock market tumbling, and it's unclear what Ryder really wants or if Garber is part of the deal. Will hostages, kidnappers, and negotiators live through this? Written by
Despite the fact that this was filmed in Super 35, "Filmed in Panavision" is listed in the end credits. See more »
At the end when Garber is instructed to drop his gun you see him holding it up in his right hand and after he drops it you can see him catch it with his left hand. See more »
Do you know what I'm looking at? Do you know what I'm looking at?
No, I do not.
Ok, well first there's my gun... and at the end of my gun, what's your name man?
George, everyone calls me Geo.
George, his friends call him Geo. He's got this kinda eighties skateboard thing going on... he makes it work, but it's not gonna look to good in his casket.
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At the end of the opening credits, the director's name, Tony Scott, "follows" the train into the tunnel. See more »
A surprisingly enjoyable and tense thriller. While it does have a good bit of the kind of silly excess that ruins most summer blockbuster movies anymore, those flaws are overshadowed by the tightly-wound script and a couple of good performances from Denzel Washington and John Travolta. Director Tony Scott seems to have spent a good bit of effort trying to channel the spirit of 1970's American movies, and often this pays dividends as the focus on grittiness over spectacular action sequences ups the suspense. It's interesting that as the movie approaches the end you can feel the director's 21st century comic-book instincts straining against the genre he's working in as the story becomes increasingly less believable and more "heroic."
Nevertheless I can recommend this movie to anyone who enjoys a suspenseful action movie that doesn't beat you over the head with histrionics from beginning to end. Admittedly I've never seen the original, and I can easily imagine those who love it might be substantially less enthusiastic about this remake.
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