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.
On his first day on the job as a Los Angeles narcotics officer, a rookie cop goes beyond a full work day in training within the narcotics division of the L.A.P.D. with a rogue detective who isn't what he appears to be.
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
One of the bad guys was a teamster on the set with an actual criminal past who Tony Scott hired because he felt he played a bad guy convincingly enough. See more »
In the opening sequence Garber is at the controls with a napkin tucked into his neck and he is eating, next we see him without the napkin having a cup of coffee. In the next shot he has the napkin back in. See more »
Well, I can tell you that you are dealing with one of the old-time bureaucracy, I know that. I mean, it takes time.
Well you'd better fix the bureaucracy. Because when the time comes, these motherfuckers, these out there, are gonna go real quick.
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Subway footage and sounds are mixed in with the production company logos shown after the end credits. See more »
So-so thriller but swooshing cameras do not cover for lack of spark and tension in the material
It has been the best part of a decade since I saw the original film version of this story but I still remember it being pretty enjoyable with a dark edge of comedy. From the opening seconds of the remake it is clear that the focus here is going to be on the action. Jay-Z's 99 Problems kicks things off while the camera swooshes and zooms round as all the main players move into position – within minutes subway car Pelham 123 has been taken and a race to save the hostages begins. The rest of the film is meant to be exciting and tense and we know this because the camera is constantly swooshing and throwing in slow-motion bits here and there to let us know that the stakes are high, lives are on the line and that we should all be tense.
Sadly, while the cinematographer is keen to make sure we know this, nobody else seems that bothered because the film does nothing to justify the sweeping camera movements and pumping soundtrack. In terms of physical "money up there on the screen" action, there is very little and what there is just seems thrown in for the sake of having some action (the car crashes trying to get the money in on time) rather than being part of the film. This in itself is not a problem by any means, because the nature of the plot did always suggest that the spark would be in the dialogue and the interplay between the two stars. Sadly this is lacking as well. It isn't "bad" though, but it just lacks spark, impact and tension. The problem is mainly with the script but director Scott doesn't seem to know what to do with it all anyway and seems desperate for characters to get shot or for things to crash into something just for the sake of having action. Travolta appears to be happy just to ham it up with a simplistic performance that matches the basic feel of the film. Washington had the harder job and suggests he could have done it with better material and direction – instead he is thrown into forced dialogue and unlikely semi-action sequences towards the end. The supporting cast is pretty good through with a handful of HBO faces in there (Sopranos' Gandolfini, Generation Kill's Kelly and The Wire's Akinnagbe). Gandolfini, Guzman and Turturro all do the good work you would expect from them, although again all are limited by the material.
It is not an awful film, so if you are looking for a glossy but basic thriller with stars and a big budget then this will just about be good enough to pass the time. The lack of spark and tension is the killer though and this the film cannot compensate for no matter how many time the camera swooshes around or the editor makes quick cuts – the failure is deeper than that and nobody appeared to be able to address it to make this film better than it was.
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