TheTakingOfPelham123 Tagged Articles at Cinematical

G.I. Joe: The Rise of Cobra
Here's my problem with the picture: a furiously-filmed chase through the streets of Paris should be spectacular and thrilling. Instead, it's incoherent, routine, even disappointing. Director Stephen Sommers (The Mummy, Van Helsing) turns in another by-the-numbers action spectacle, this time starring Dennis Quaid, Channing Tatum, Adewale Akinnuoye-Agbaje, Marlon Wayans, and Joseph Gordon-Levitt. There are better ways to waste your time and money. Skip it. Also on Blu-ray.

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The Taking of Pelham 1 2 3
Tony Scott's remake is a higher-grade disappointment, coming achingly close to delivering an unqualified success. Derailed by John Travolta's unrepentant scenery-chewing, which goes far beyond the bounds of bad taste, and an unhealthy preoccupation with explaining everything, the film motors along reasonably well, fashioning a paranoid tale of post-9/11 terror and ticking time bomb suspense. Denzel Washington is eminently watchable, and James Gandolfini has a good turn as the Mayor of NYC. Recommended with reservations. Rent it. Also on Blu-ray.

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I Love You, Beth Cooper
As I wrote in my review, Larry Doyle's very funny book has been transformed into a dreadfully boring movie. Hayden Panettiere and Paul Rust are miscast as a rule-breaking dream girl and the boy who loves her from afar, respectively. The spend a night together that seems endless. Chris Columbus directed, without distinction. Skip it. Also on Blu-ray.

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Also out: Aliens in the Attic.

Indies on DVD, more Blu-ray picks, and Collector's Corner -- after the jump!

I was just looking over the current release list and came upon two movies that seem to have been pretty much forgotten already, Ron Howard's Angels & Demons (247 screens) and Tony Scott's The Taking of Pelham 1 2 3 (383 screens). The first one is a sequel and the second one is a remake. The first one is absolutely terrible, earning a 37% on Rotten Tomatoes, while the second one is merely mediocre, earning a 52% rating. But what's truly astonishing is that Angels & Demons is a box office smash, with $133 million to its name, The Taking of Pelham 1 2 3 has earned less than half that, with $64 million.

Let's look at little closer at this. These are two of the summer's only movies that may have been aimed a little above the heads of young boys. All three of the name-above-the-title stars, Tom Hanks, Denzel Washington and John Travolta, are in their 50s. This ostensibly means that the studios wanted to entice older audiences out of their comfortable homes and into theaters. But unfortunately, if you're a fifty-something and you go out to see The Taking of Pelham 1 2 3, what's the first thing you get? You get one of Tony Scott's quick-cut, jumpy, razzle-dazzle openings with Jay-Z boasting "I got 99 problems but a bitch ain't one." Not to mention the rest of the breakneck movie, which practically reaches out from the screen and slaps you in the face.

To some, it was a surprise upset: the week-old The Hangover outgrossed the brand-new The Taking of Pelham 1 2 3. Or, in other words, the film with no stars beat out the film with two humongous stars. It's easy to look back over the past 12 months and find similar trends. Star Trek is currently the year's biggest smash, with no stars. (I'm using the term "stars" here very loosely; I'm talking, big, big stars, known the world over.) Likewise, Slumdog Millionaire, Up and Watchmen were all big hits with no big stars. We could argue that stars like Hugh Jackman, Tom Hanks, Ben Stiller and Christian Bale have been in hits this summer, but you could also argue that they're all in sequels that have sold because of other factors.

Some stars seem unstoppable. Will Smith, for example, rarely stars in a film that grosses less than $100 million, and when he does, he gets an Oscar nomination for it; the exception, last year's Seven Pounds, even managed to turn a profit despite the fact that nobody liked it and it disappeared before anyone could blink. And you could hardly argue that Gran Torino would have been much of a film without Clint Eastwood. Indeed, most of the big hits of the past year and a half have had big stars in the cast, but relying on a star and a star alone to carry your film seems to be a thing of the past. There needs to be a big concept or a selling point that's as big or bigger than the star. What do you think, dear readers? Is the star system obsolete? Are there stars you adore so much you'll see anything they're in? Or do you go to the movies for other reasons?

The Hangover is officially the summer's biggest breakout hit. Its closest analogue is Wedding Crashers, which, four summers ago, was carried by positive word-of-mouth to a final gross nearly seven times its opening weekend. The Hangover has bigger raw numbers, but its second weekend drop -- 25% -- is comparable. For a film that opened to $45 million, and without any sort of holiday boost, that's pretty remarkable. It will have some competition next weekend in the form of Year One, but it may not matter much; its word-of-mouth appears to be the stuff that dreams are made of.

Pixar's Up is also going gangbusters in second place. It is now running a mere $4 million behind Pixar box office champion Finding Nemo. At this point it's anybody's game.

The weekend's two wide openers -- The Taking of Pelham 1 2 3 and Imagine That Imagine That opened pretty much to expectations. Pelham did a respectable $25 million, which is pretty close to previous Denzel Washington-Tony Scott collaborations (Man on Fire and Deja Vu). And Imagine That's $5.7 million pretty much precisely mirrors the opening of Eddie Murphy's Meet Dave this time next year. Murphy really needs to do something to shake things up a bit.

The full top 10 after the jump.

"How the hell can you run a goddamn railroad without swearing?"
-The Taking of Pelham One Two Three (1974)

"I got 99 problems, and a bitch ain't one."
-The Taking of Pelham 123 (2009)

About as loud as Joseph Sargent's original was lean, Tony Scott's take on The Taking of Pelham 123 is more indebted to his name than its own, all restless shots and relentless cuts, ticking clocks and roving maps, a stream of shouting and shooting and speed-ramping and slow-motion and all that jazz. The conversations are cranked up, and the confrontations are amped up, but to what end? Scott whips out the familiar frame-blurring techniques that have ostensibly served him well in the past, but his flair tends to instead rob a crackerjack crime thriller of an inherent momentum that has served it quite well over the span of almost four decades.

I'm not certain when, exactly, my long-time fascination with trains was born, but it probably started the first time I walked through Union Station in Los Angeles, a cathedral dedicated to mass transit that opened in 1939. Opportunities to ride the rails were few and far between, so I treasured any chance to experience a train trip vicariously through the movies. Eventually I moved to New York and, still later, visited Europe, banking thousands of hours on all manner of subways and trains. Still, I've never had a personal train trip as thrilling as those I've enjoyed at the movies. With Tony Scott's The Taking of Pelham 1 2 3 racing into theaters tomorrow, let's honor a few of the films that have provided terrific train thrills of the cinematic variety.

1. Runaway Train
The other movies on this list feature excellent scenes set on or around trains or subways (see also "Honorable Mention" and "Sensational Subway Scenes" after the jump) but Andrei Konchalovsky's thriller, based on a screenplay by Akira Kurosawa, spends the majority of its running time on a train speeding through the bitterly cold, snowy winter landscapes of Alaska. Jon Voight and Eric Robert are two hardened convicts who've broken out of prison and, by chance, happen upon the just-departing train. When the engineer suffers a heart attack, the cons are at the controls of an out-of-control beast they cannot hope to master.

2. Spider-Man 2
I'll dance around needless spoilers by saying there is a coda to the runaway train scene that caught me unaware, filled with grace and humanity. That elevates a very good, thrilling, fast-paced suspense sequence involving helpless passengers and the heroic, masked Peter Parker (Tobey Maguire) as he fights Doc Ock (Alfred Molina).

There are those actors who somehow manage to raise the 'quality quotient' of any film that they are in -- and Denzel Washington is one of those actors. Whether he can keep that streak alive when The Taking of Pelham 123 opens on Friday remains to be seen, but today for Scenes We Love, I decided to throw a little love towards Washington for his performance in Antoine Fuqua's Training Day. Now just for starters; I have to say that it's not a great film...corny and satisfying? Yes, but great? Not quite. So how did Washington win an Oscar for his role as the corrupt LAPD officer, Alonzo Harris? Well, I think he earned it by taking a role in a paint-by-numbers cop thriller and turning it into an Oscar-worthy performance.

Everyone loves to see the bad guy get their comeuppance, and that's exactly what the final scenes of Training Day deliver. But in this scene, as Washington's dirty cop watches it all slip away, you can see it register on his face as all that power and respect circles the drain. In the hands of a lesser actor, this scene could have just been a cheap thrill of watching the bad guy get what he deserves, but to Washington's credit, he creates a very real moment where 'The Player' finally realizes he has lost the game.

Video and Training Day Fun Facts after the jump...

Nausea, cotton mouth, and a splitting headache took everyone by surprise last weekend as The Hangover took the number one spot, just barely outdoing Up in its second week. Land of the Lost had a lackluster opening weekend, scoring a distant third place. My Life in Ruins took ninth place with a $3.2 million take. Here's the top five:

1. The Hangover: $44.9 million
2. Up: $44.1 million
3. Land of the Lost: $18.8 million
4. Night at the Museum: Battle of the Smithsonian: $14.6 million
5. Star Trek: $8.3 million

Two new flicks this week:

Imagine That
What's It All About: A comedy starring Eddie Murphy as a financial executive who salvages his career with advice from his daughter's imaginary friends.
Why It Might Do Well: I just can't imagine that.
Why It Might Not Do Well: It's no secret that, unless he's voicing an irritating yet amusing donkey, Murphy is not the box office draw he once was. His last feature Meet Dave opened with a mere $5.2 million. It doesn't help that the plot about a father who will no doubt discover the value of family over work has become a kids' movie cliche.
Number of Theaters: 2,800
Prediction: $9 million

The Taking of Pelham 1 2 3
What's It All About: Denzel Washington plays a New York City subway dispatcher and John Travolta plays the leader of a ruthless group of criminals who are holding a subway car full of passengers for a hefty ransom.
Why It Might Do Well: The two leads are the big draw here.
Why It Might Not Do Well: Based on twelve reviews Rottentomatoes.com is giving this only 42% and for the most part remakes leave a bad taste in my mouth.
Number of Theaters: 3,000
Prediction: $26 million

Bruno
IMDB is giving the following as this film's informal alternative title: Bruno: Delicious Journeys Through America for the Purpose of Making Heterosexual Males Visibly Uncomfortable in the Presence of a Gay Foreigner in a Mesh T-Shirt. Borat star Sacha Baron Cohen adapts another character from Da Ali G show, this time assuming the persona of a flamboyantly gay Austrian fashion designer. This is apparently shot in the same way they did Borat, with most of the people involved not realizing that Bruno is just a fictional character. I suspect this may be just as funny as Borat was, but we'll have to wait until July 10 to know for sure.

Fame
Really? A remake of the 1980 film? It's not something I would have thought people were clamoring for but the movie looks to be in the mold of modern dance flicks, and there's a catchy modernization of the classic theme song. If Step Up 2 The Streets is your kind of thing then Fame may work for you. Look for it on September 25.

Powder Blue
Indie drama about four individuals including a suicidal minister who has lost his faith (Forest Whitaker), a retired hit man (Ray Liotta), a single mom stripper (Jessica Biel) and a socially awkward mortician. In addition to these three stars we have Patrick Swayze and Kris Kristofferson rounding out an appealing cast. The story looks compelling, not just because of the strip tease scenes, but they certainly don't hurt. Watch for this in limited release on April 24.

It's not far to assume that all remakes will disappoint by default. I've come to learn that we get one Dawn of the Dead '04 for every ten of Prom Night '08, but more importantly, I've learned to be a bit more grateful for those that do work, because they are no less ours to enjoy. However, judging by the new trailer over at Yahoo! Movies for Tony Scott's take on The Taking of Pelham 123, that approach cannot eliminate skepticism entirely, which is what this trailer filled me with, entirely.

Hiring the more spastic Scott sibling to helm a movie that mostly takes place on a subway car held hostage doesn't seem right, which is why this piece is filled with roaming cameras as a truck crashes into a car, Denzel Washington clashes with John Travolta, a motorcycle crashes into a car, Denzel's facial hair clashes with Travolta's facial hair, so on, so forth...

And the original (Walter Matthau vs. Robert Shaw! And that theme!) and its dry wit appear to have instead been reduced to that one line about milk and a climax likely more comparable to Speed than Pelham '74. But hey, I can't say for sure until I actually see more than two minutes of the thing, and having been surprised by how much I enjoyed Scott and Washington's Deja Vu after sitting through its trailers, I'll try and bite my tongue until June 12th.

(On the flip side: if you have 105 minutes to spare, I may be able to help you see things my way...)