The Taking of Pelham 123 Directed by: Tony Scott Cast: Denzel Washington, John Travolta, James Gandolfini Running Time: 1 hr 50 mins Rating: R Release Date: June 12th, 2009
Plot: Accompanied by three other thugs, a man (Travolta) hijacks a subway car in New York City. Forced to negotiate with the mastermind is Walter, (Washington), a subway dispatcher.
Who’s It For? With low expectations, this might be an OK trip to the summer multiplex for the casual viewer.
Expectations: Another unnecessarily flashy movie from Tony Scott, with a script that is going to rely a lot on technology that was certainly not around for the pretty great original from 1974. It was a sincere hope this remake would be as intense.
SCORECARD (0-10)
Actors:
Denzel Washington as Walter Garber: This is one of those roles from the prolific actor where he just coasts, and we barely remember him for it. Specifically, his calm character is a bit too boring here. Of course this isn't meant to be Train Conductor on Fire, but in the past he's proven he can excite us even as a regular Joe Schmoe. Score: 4
John Travolta as Ryder: Why is he so angry? Is it because he got kicked out of the Wild Hogs gang? That would at least explain the tattoos and handlebar mustache. What it doesn't make sense of is his juvenile attitude, which is seen in his crazy eyes and crying baby-like fits. He spends much of the film yelling into a walkie-talkie, and getting worked up about problems that are often Walter's and not his own. Sadly, this is not as funny as it sounds. Score: 3
James Gandolfini as Mayor: This character feels a bit like an inside joke, probably constructed as a reflection to how people in NYC view some of their politicians. People from the city might be more amused by this Mayor than others who simply aren't. Admittedly, the best part about this performance is that it returns to us Gandolfini, who we haven't seen much of since 2006's All The King's Men. Score: 4
Talking: The foul mouthed Travolta shouts phrases that are too homo-erotic to be considered as serious threats. "I'll [make love] to you in your greaseball [behind]," he barks. Another bit of dialogue that is usually not spoken by someone attempting to be menacing: "He's got a sexy voice, man. He'd be my [female dog] in prison." There's unintentional hilarity in many of these lines, but it can only go so deep. Score: 4
Sights: Another train wreck from Tony Scott that has aesthetics that speed faster than story. The Domino director once again makes more work for himself with his overwhelming amount of cuts that are disruptive and stumbling. Interestingly enough, when the camera is in the subway control room, it is constantly moving back and forth. In the train however, everything is very still. (Considering the situation going on in each location, you'd think these choices should be reversed.) And many times, he likes to toy with the frame rate, moving from fast to very slow. A new trick from Scott is his usage of an expansive picture of New York, which looks like it was copied and pasted from some 3-D map on Google. Score: 4
Sounds: When Scott thinks hears the word "New York City," he must think of Jay-Z's "99 Problems". The classic hip-hop track is prominent in the film, and has 2-3 variations heard throughout. Everything else, including Scott's end credits fascination with the sound of a subway whistling by, is pretty insignificant. Score: 5
PLOT SPOILERS
Best Scene: The first few scenes felt promising. Before Travolta showed up, things felt like they were going to be more than just OK.
Ending: Washington brings home the milk, with Tony Scott freeze framing on the actor's face. Indirectly, this reminds us that the original film's conclusion ("Gesundheit") was much better.
Questions: Did this movie ever have a chance of topping the original? It certainly didn't when it subtracted the color code names that added a bit more intelligent mystery to the story.
Rewatchability: Sometimes, my father likes to watch movies while doing small chores around the house. This movie seems conceived exactly for that certain type of attention span.
OVERALL
It's hard for a film to hit the target of "nail-biting thriller" when both the good guys and bad guys are fumbling through the story's events. The NYPD cops play demolition derby with themselves while trying to deliver the money, and it takes all four thugs about an hour and a half to realize a computer sitting on the floor of the subway car. Two other elements that make this movie even more uninteresting are the lead performances. Travolta melts down with temper tantrums, while Washington looks like he just wants to make it through his shift (so that he can bring some milk home).
The Taking of Pelham 123 loses its force from slow thinking characters as it cruises on conventional tracks. Brian Helgeland's script and characters are alike in that they notice obvious things too late. They certainly don't know predictability when it points a gun in their face.
Final Score: 4/10