So I was busy with my final years assignments and papers which are still going on but I'm on the last leg of practicals (fucking viva on zoom sucks balls), and during this time usually I don't watch anything new or any horror movies at all what I watch is movies like sucker punch 2011 or step brothers or taking of pelham 123 each one holds a deeper meaning even though they are mediocre or are even considered as below average but there is something about them that I love.
by Walter Chaw It's amazing that a film that takes place on a metal tube in a dank tunnel should have no trace of come in it. Less amazing when one considers that it's Tony Scott at the helm of this redux--the same Tony Scott who arguably reached the zenith of his potential with his vampire-erotica cult debut The Hunger, whose best film is the result of a superior screenplay by Quentin Tarantino (True Romance), and whose main claim to fame may be that he's behind one of the most homoerotic sequences ever captured on film in his gay amusement park Top Gun. Scott's The Taking of Pelham 1 2 3 (hereafter Pelham) is packed to the gills with meaningless, hyperactive visual gawping every bit as bad here as it is in his unwatchable Domino, so frantic that it has the opposite effect oPublishn the audience by rendering itself static and boring. (There's a lot going on in a screen full of snow, too, but all it does is put you to sleep.) The picture reunites Scott with his go-to leading man Denzel Washington, whose Garber, an MTA operator fallen under suspicion of taking a bribe, replaces Walter Matthau's weary, hangdog transit cop from the Joseph Sargent original. When ridiculous goon Ryder (John Travolta) hijacks the titular subway car with a pack of the usual suspects (including Luis Guzmán, of course), it's up to smooth-talking every-dude Garber to cover up the deficiencies of hostage negotiator Camonetti (John Turturro), the gasbag Mayor (James Gandolfini), and all the bumblefuck NYPD who manage to accidentally snipe one of the bad guys, crash a car racing through Manhattan, and decorate a couple of baddies with a good twenty clips of ammunition in the middle of Uptown. It also, as a way to give the film a contemporary slant against which the terminally un-hip Scott is well over-matched, demonizes Wall Street by having its chief baddie be a former securities trader who hatches a plan to fuck the stock market by making New Yorkers afraid that his plot is a terrorist attack. Pelham is, in other words, rather tasteless in addition to being awful.
Subway dispatcher Walter Garber's (Denzel Washington) day starts mundanely enough, with complaints about non-working switches and workplace pranks. But events take a turn at 2:13 p.m., when he fields a call from Ryder (John Travolta), an ex-con who's hijacked a train and is demanding $10 million for the release of its passengers -- and he threatens to shoot one of them for every minute the loot fails to show. Still reeling from being demoted to the dispatch desk after being accused of taking bribes, Garber senses a chance to redeem his name. But the stakes are high and the odds ugly.
Ryder learns from one of his fellow criminals, and from his laptop, that Garber was previously a manager who was demoted because he was suspected of taking a $35,000 bribe from Japanese interests to recommend that the transit authority buy the subway trains currently in use. Ryder demands that Garber confess to the crime or he will murder another hostage.
Bashkim kills a plainclothes Transit Police officer who attempts to arrest him. He and Ramos then allow all the passengers not in the front car to be released except for the motorman. Garber reluctantly negotiates with Ryder and develops a rapport, while Ramos and Emri set up internet access in the tunnel. Ryder uses his laptop to watch the Dow Jones Industrial Average plunge nearly one thousand points during the next hour in response to the taking. One of the passenger's laptops also connects to the internet, and the computer's webcam is activated. The webcam allows the people in the control center to monitor the train, which they use to observe Ryder and Ramos. Lieutenant Camonetti of the NYPD Emergency Service Unit enters the RCC to take over negotiations and Garber is ordered to leave the premises. The change infuriates Ryder, who shoots and kills the train's motorman in order to force Camonetti to bring Garber back.
Curators Damon Brandt and Valentina Branchini are staking a claim in the pedigree of Madison Avenue itself as an incubator of revolutionary art of the sixties, and more importantly presenting women gallerists as dynamos of culture at that time. 781b155fdc