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You can skip movies 10 times but never go back.
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.
Tony Scott's masterpiece; an MTV hostage thriller distorted and blurred through incoherent, abstract images dictated by conversation. Jay-Z's '99 Problems' clusters over the opening credits with addled precision, the NY skyline repeatedly seen with dignity and tried and true humility. Like all of Tony's stories, The Taking of Pelham 1 2 3 is about singular relationships and connections, those which we forge versus those which we confront, leading towards destiny. Its moment to moment orchestration of negotiation, currency transfers, and hostage interplay is enough to keep suspense on the top of the electric scale, but Scott balances dialogue through precise visual continuity; jumbled, heated monologues spliced between kinetic movement for the sole purpose of auditorial energy becoming pictures of…
Tony Scott did action films with a real popcorn flavor. This remake of Joseph Sargent's superior 1974 film may have had two headline actors in the shape of Denzel Washington and John Travolta, but it didn't have the gritty tension and flair that Robert Shaw and Walter Matthau delivered in spades.
The plot is simple, a group of gunmen hijack a New York subway train and ask for a ransom. Obviously there's more to the story than that, but it's played out as just that, a hijacking. Political issues and a scandalous backdrop for MTA dispatcher Washington add to the intrigue but it's the shouty hijacker played by Travolta who really takes center stage. He's motivated, full of anger and…
I give this film a fully voiced, resounding and heart felt: 'Meh'
I had no plans of doing a Tony Scott retrospective this month, but I sure do now. The Taking of Pelham 123 was an absolutely visceral experience from start to finish. It's not just Scott's commitment to genre that helps bring the film to such an enticing level of entertainment, but it's also the level of self-awareness that Scott has when approaching his obviously outlandish premise.
It's amazing how fluid the conversations between Washington and Travolta are all throughout the film, especially since for the majority of the runtime it is the two of them talking over the microphone with one another. The meticulously placed ADR is some of the best I have ever seen before. The intertwining audio between…
I know all of you will probably disagree with me on this one but i loved this movie, i just love denzel Washington and once again he's delivered a fantastic performance and so does john travolta, I mean seriously denzel Washington is fucking awesome listen to the list of movies he's starred in training day, taking of pelham 123, american gangster, flight, crimson tide, man on fire, the equalizer, glory, de ja vu, ricochet, the great debaters, Malcolm x and the inside man this guy is a legend.
Compensation of Invisibility (theme) - In script form essentially just talking heads; conversing, relaying, stating respective New York class ideologies, etc. Yet with T. Scott, their words take on more heft – the camera movements essentially make them travel between each location and physically manifest; they’re bridges between a series of screens. Wholly appropriate that Travolta’s financial gain is seen on a laptop, and failed when attempted to be delivered in person.
Belief in Visibility (decoration) - The pans across the cart; its windows covered in specks of rain. The shutter speeds and freeze-frames; Tony still somehow seeing beauty in stasis. That gotdamn shot of the bullet-hole in the window.
Movie #4 of my Denzel Washington marathon. I always forget how many time John Travolta says mother f**ker in this movie lol. It's a fun thriller and I enjoy watching it every time. Denzel is great as always and John Travolta hams it up but I love it! Plus who doesn't love seeing Denzel look like a G in a sweater vest.
"You're my goddamn hero."
"You're my goddamn hero."
I only watched this because of SilentDawn's shining review, and I gotta say, I'm glad I took his recommendation. The Taking of Pelham 123 is a vivid, sometimes hallucinatory ride through the minds of two men-Denzel Washington and John Travolta. It works as a potent character study, as an intense thriller, and as a kind of joke. I think that this movie is purposely kind of trashy as a way to reflect Travolta's mind in the film. That's just my opinion, though.
The acting is great, with John Travolta being nine flavors of fun as the insane Ryder, who contends with "straight" man Garber, played by the equally good, although different, Denzel Washington. The movie could…
Very Great one :)
Travolta's hysterical performance gets tiresome. If you have watched the original you should appreciate that version all the more.
Life is simple now. You just gotta do what I say.
Tony Scott's train-based films are his best, but anyone with two eyes should be receptive to Scott's insurmountable precision... so instead I'm going to talk about Denzel Washington's performance. As a civilian turned superhero, Washington fronts the losing side of a winning battle. Communication matters more than anything else, Travolta's character despises the city of New York, yet Washington represents the city, ("New York killed Jerry") ultimately leading Travolta to grow attached, refusing to let Washington leave him. This is the great tragedy of Scott's filmmaking; two bound souls separated in space, in ideal, ruined by circumstance. It's all a love story, man.
Not only does the character require…
A decent Tony Scott / Denzel Washington collaboration.
It has neat ideas--taking hostages in a stationary subway car, invoking Wall Street and terrorism on the same page, the concept of the subway city of New York--and while they are not explored with profound depth, it still is a fun action film to watch.
I am upping my rating this time. The last time I had better memories of the original. This time I appreciate Denzyl Washington more and sure do miss James Gandolfini.
Think I feel comfortable with this again? The best. Chronological. Constantly in flux.
trains from hell