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The Taking Of Pelham 123 Online Free-----------------------------------------DOWNLOAD: http://urllio.com/r1f6m -----------------------------------------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?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.STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning
*mild suggestive spoilers*
This glossy remake of the little known 1974 film The Taking of Pelham One, Two, Three has a slick, stylish opening with a clever use of credits and camera angles that makes promises it can't keep for what's coming up in the rest of the film. Indeed, it's this sort of gimmick that sets the film up for what it is, all style over substance.
It's pretty clear this was intended as a 'real time' thriller, but no genuine air of tension or suspense is ever generated, and every clever gimmick Bay uses to try and do this, from slow motion camera use, fast cuts/editing and most nauseatingly of all, spinning the camera around as James Gandolfini liases with his followers, doesn't work. Even freeze framing the screen to reveal it's '48 minutes', '32 minutes', '12 minutes' before the ransom deadline, doesn't work.
Cast wise, the basic problem is the two lead stars are simply playing their roles the wrong way round. Denzel Washington could have added some genuine dynamism to the bad guy role, but he has the biggest star power and, as the guy with top billing, is stuck in the role as the nice guy, but the real problem is John Travolta as the villain. Sadly, he just comes off as laughable in the role, with his daft facial expressions, 70s porn star moustache and shouting 'motherfu*ker' down the line seemingly at the end of every sentence.
With all this going on, sadly the film's implausibility and corniness become a real issue, and you're left niggling over the miracle broadband connection under a tunnel, Denzel's character being thick and asking what to do with the cent from ten million dollars and a cent, not to mention returning home from his ordeal at the end of the day seemingly unscathed by it all. When he phones his wife and she tells him to come home safe at the end of it all with a gallon of milk, you can just tell how it's going to end.
Sadly, for all the publicity, this emerges as just another one of those pot boiler thrillers Denzel likes to make in between all his more meaty stuff. **New York City subway dispatcher Walter Garber's ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway. Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train's passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. --© Sony Pictures
A lot has changed after 35 years since the last ToP123 film. Technology has taken over and the city of New York has changed, especially after the 9/11 attacks. In this way, the remake of ToP123 doesn't seem like such a bad idea compared to other remakes, and it isn't. In fact, while the remake generally hits the same spots in the original film, it's a completely different film overall.
Let's start with the most obvious change: The tone. While the original ToP123 played out more like a dark comedy, the remake is far more serious, and I prefer it that way. No matter how much I enjoyed the original's comedy, I will always prefer the more realistic serious tone for the remake. I mean, after all, a hostage situation shouldn't be taken very lightly, especially when there are lives involved.
I also liked Denzel Washington's performance a lot. I haven't seen a lot of his films but this is my first time seeing him play a vulnerable and flawed human being. There's a subtlety about his performance, someone who's trying to keep his emotions from affecting his job. I wish I could say the same about John Travolta, who's more of a hit and miss type of character. In some scenes, he's good, while in others, he was laughable because of how over the top he plays his character. I can't keep a straight face whenever he dropped the f-bomb. John Turturro is pretty good, which is great because I could not stand him in the Transformers films.
Another thing I liked is the addition of technology in the story. It's sometimes used for moving the plot and sometimes used to develop a character. However, one main thing I don't like about the film is Tony Scott's direction. It's kinetic and jumpy rather than coherent and suspenseful. The film has a hard time building up tension because of how the film is shot and edited. I didn't like the whole blurriness and the ongoing slow motion used throughout the film at all.
The film also meanders around the third act, especially during the climax, where it's supposed to be the most exciting part. There's also a lot of plot contrivances that happens in the third act that bothered me because they were so ridiculous.
Although with the many flaws the remake has, it's still a good thriller, mostly due to Washington's performance. I liked the transition to a modern New York setting as well as the straight forward serious tone. Give it a watch if you're interested or skip the ride if you think the remake is unnecessary.Scott's redo comes up short in almost every regard against the '74 model--against David Shire's knuckled-brass score, against its mugs' gallery of '70s New York character actors, against Peter Stone's serrated script, and certainly against its wordless punchline.Four armed men—Bashkim (Victor Gojcaj), Emri (Robert Vataj), Phil Ramos (Luis Guzmán), and their leader, Bernard Ryder (John Travolta)—hijack the lead car of a subway train in Manhattan. Ryder contacts MTA dispatcher Walter Garber (Denzel Washington) in the Rail Control Center (RCC) and demands $10 million in ransom to be delivered in one hour or they will start shooting the 19 hostages, one for each minute the money is late. The Taking of Pelham 123 is based on the 1973 novel The Taking of Pelham One Two Three by American author Morton Freedgood, writing under the pen name of John Godey. The novel was adapted for this movie by American screenwriters Brian Helgeland and David Koepp. An earlier adaptation of the novel, The Taking of Pelham One Two Three (1974), was released in 1974. A TV remake, The Taking of Pelham One Two Three (1998), was released in 1998. Pelham refers to a local Manhattan train that departs from Pelham Bay Park. The "123" refers to the time that it leaves 1:23. The "taking" refers to a hijacking. After Garber delivers the money, the hijackers start up the train, having found a way to circumvent the dead man feature. They get off the train at the Roosevelt spur, a derelict tunnel built under the Waldorf-Astoria Hotel. The train continues forward, picking up speed until the passengers become alarmed and the authorities at the MTV conclude that no one is driving the train anymore. Fortunately, the train trips a red light and stops. MTV orders all patrol cars to converge at the Roosevelt spur, where they open fire on Bashkim and Emri. Garber follows Ryder, who has hailed a taxi in which he checks his laptop to find that he has successfully shortsold the market and invested in gold, earning a huge profit. Ryder hijacks a truck and follows Ryder's cab to the Manhattan Bridge where Ryder has exited his stalled cab. Garber catches up to him on the pedestrian walkway and confronts him with a gun. Ryder demands that Garber kill him before the police do and gives him 10 seconds to shoot. At the end of the 10 seconds, Ryder reaches for his gun, and Garber shoots him. "You're my goddamn hero," Ryder says as he sinks to the ground. Later, while on his way home, Garber is stopped by the mayor (James Gandolfini) who thanks him, informs him that the city will go to bat for him in the bribery investigation, and offers him a ride home in his car. Garber takes the train instead. In the final scene, he arrives home, a half-gallon of milk in his hand. The first drafts of the script faced the challenge of updating the novel with contemporary technology, including cellphones, GPS, laptops, thermal imaging, and a post-9/11 world in New York City. In December 2007, David Koepp, who adapted the novel for Scott and Washington said: I wrote many drafts to try and put it in the present day and keep all the great execution that was there from the first one. It's thirty years later so you have to take certain things into account. Hopefully we came up with a clever way to move it to the present. Koepp's drafts were meant to be "essentially familiar" to those who read the novel, preserving the "great hero vs. villain thing" of the original. Brian Helgeland, the only one receiving credit for the screenplay, took the script in a different direction, making the remake more like the 1974 film than the novel and, as Helgeland put it, making it about "two guys who weren't necessarily all that different from each other." Whereas the novel is told from more than 30 perspectives, keeping readers off balance because it is unknown which characters the writer might suddenly discard, the two films focus on the lead hijacker and the Metropolitan Transportation Authority employee with whom he communicates by phone. The new version sharpens that focus until it's almost exclusively a duel between disgraced MTA dispatcher Walter Garber and manic gunman Ryder.
In the book and original film, Ryder is "cold-blooded and calculating", but in the 2009 film he is a "loose cannon willing to kill innocents, not out of necessity, but out of spite." Also Ryder, in the original film and book, is portrayed as a normal looking businessman, while in the 2009 film he looks like he has adopted prison life, wearing very visible prison related tattoos and very laid back modern style of a biker. In the 1974 film, the main character is named Zachary Garber and is a lieutenant in the Transit Authority police; in the 2009 film, the main character is named Walter Garber and works as a subway train dispatcher. Ryder asks for $10 million dollars instead of the $1 million as in the original film and book and $5 million in the made-for TV movie. Ryder does not use the "Mr. Blue" nickname as the original film does; it is implied that Ryder is a nickname. a5c7b9f00b http://staind-italy.ning.com/profiles/blogs/the-episode-2-4-download http://habadcvo.yolasite.com/resources/Download-the-Ecstasy-of-the-Angels-full-movie-tamil-dubbed-in-torrent.pdf https://www.causes.com/posts/4946697 http://www.nookl.com/article/331193/arizona-stage-coach-download-torrent http://digitalguerillas.ning.com/profiles/blogs/batman-the-killing-joke-download-movie-free http://javamex.ning.com/profiles/blogs/akakill-theater-4th-elimination-night-raid-tv-shopping-full-movie https://www.causes.com/posts/4946698 http://facecool.com/profiles/blogs/the-one-piece-full-movie-download-in-hindi http://newyorkundergroundradio.ning.com/profiles/blogs/eden-malayalam-movie-download http://bricolocal.com/profiles/blogs/hell-comes-to-montana-full-movie-in-hindi-free-download-hd-1080p
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