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 remake lands in mixed territory, with most critics finding it a competent but hollow action thriller that can't escape comparison to the tightly wound 1974 original. The central debate is whether the film's relentless sensory bombardment — Scott's rapid cutting, wall-to-wall noise, and inflated attitude — generates genuine tension or simply substitutes energy for craft. Travolta's villainy divides opinion sharply, and even defenders concede the film runs out of ideas before it runs out of screen time.
“There's not much wrong with Tony Scott's The Taking of Pelham 123, except that there's not much really right about it.”
Roger Ebert·Chicago Sun-Times
“Tony Scott's craft cannot create suspense, it substitutes noise, cursing and brutality.”
Armond White·New York Press
“Travolta remains singularly unbelievable as a villain. In movies like this and Swordfish and, let's not forget, Battlefield Earth, the actor strives for malice but generally can't get much darker than playground-bully meanness.”
Alonso Duralde·MSNBC
“This movie hits you like 600 volts from a sparking third rail. Damn straight it's electrifying [...] The only letdown comes in Scott's handling of the passengers, who remain frustratingly generic.”
Peter Travers·Rolling Stone
“Even with the plot's built-in ticking clock, the film relinquishes the tautly calibrated pace in the third act, never to get completely back on track.”
Michael Rechtshaffen·The Hollywood Reporter
Crime, Thriller, Action
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 remake lands in mixed territory, with most critics finding it a competent but hollow action thriller that can't escape comparison to the tightly wound 1974 original. The central debate is whether the film's relentless sensory bombardment — Scott's rapid cutting, wall-to-wall noise, and inflated attitude — generates genuine tension or simply substitutes energy for craft. Travolta's villainy divides opinion sharply, and even defenders concede the film runs out of ideas before it runs out of screen time.
“There's not much wrong with Tony Scott's The Taking of Pelham 123, except that there's not much really right about it.”
Roger Ebert·Chicago Sun-Times
“Tony Scott's craft cannot create suspense, it substitutes noise, cursing and brutality.”
Armond White·New York Press
“Travolta remains singularly unbelievable as a villain. In movies like this and Swordfish and, let's not forget, Battlefield Earth, the actor strives for malice but generally can't get much darker than playground-bully meanness.”
Alonso Duralde·MSNBC
“This movie hits you like 600 volts from a sparking third rail. Damn straight it's electrifying [...] The only letdown comes in Scott's handling of the passengers, who remain frustratingly generic.”
Peter Travers·Rolling Stone
“Even with the plot's built-in ticking clock, the film relinquishes the tautly calibrated pace in the third act, never to get completely back on track.”
Michael Rechtshaffen·The Hollywood Reporter
Crime, Thriller, Action