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.
After a ferry is bombed in New Orleans, an A.T.F. agent joins a unique investigation using experimental surveillance technology to find the bomber, but soon finds himself becoming obsessed with one of the victims.
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
In the novel, Ryder's mother died of cancer, and his father was bludgeoned by an ashtray. He entered military service, like Vietnam, and perhaps this was the case in the original film, but doubtful in the remake. See more »
In the first scene, when we see Garber talking through the microphone the very first time, he presses the red button. From that time on, we see the characters pressing the blue one to use the microphone. See more »
Listen, don't let this guy bring you to his reality. 'Cause that's what he wants to do... he hurts you, you're gonna get angry. He's got the advantage, understand?
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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 »
The new Tony Scott movie gives one helluva ride, but don't sit and analyze the plot for credibility during the closing credits, this is not that kind of movie. Four sleazy thugs, who could be spotted as bad guys by a blind man, hijack a Lexington Avenue subway and take passengers as hostages. A ransom-for-hostages negotiation begins via radio between the driver's compartment on the train and the central control center for the New York City subway system. The premise is hardly new territory, and, for those who have seen the Walter-Matthau-Robert-Shaw version of the John Godey novel, the film is even less original.
However, for audiences that want a night out at the movies with a rousing action flick, "The Taking of Pelham 123" will fill the bill nicely. The editing is often frenetic, and the camera moves even during dialog-heavy scenes. The chases are fast paced, the car crashes are over the top, and the bloody scenes are properly bloody. While all of this is enough for some mindless entertainment, four excellent performances enhance the proceedings and make the film seem better than it is. John Travolta pulls out the stops as Ryder, the head hijacker, and, in his full wacko persona, steals his every scene. As the man on the other end of the phone, bespectacled Denzel Washington, dressed down in everyman frumpy, is quiet and assured, although nothing quite suggests that the character of Walter Garber will or could rise to his climactic actions. James Gandolfini plays the mayor with a sly sense of fun, and John Turturro is a hard-to-gauge hostage negotiator. "Pelham" is a man's movie, and the women are relegated to small, peripheral roles as wives, conductors, and hostages. How refreshing the film might have been if Scott had cast a female in one of the four main roles.
However, whatever the movie's flaws, and there are many, "The Taking of Pelham 123" does what it sets out to do: entertain and engage the audience for two hours. Don't expect more, and you won't be disappointed, and, in a summer movie, "Pelham's" assets are exactly what most of us are looking for anyway.
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