The Taking of Pelham 123 is the film's most high-voltage botta since Operation Swordfish. That falls well filmmaker Tony Scott (True Romance and Enemy of State) and Brian Helgeland, writer (including for best film of the late Heath Ledger with the Eater of sins: Knight), had to go back twenty times on each jewel Operation Swordfish existentialist, where bin Laden was killed at the hands of Travolta, a sort of Zelig Nemo Sorj Cagliostro transfuge Mossad.

Operation Swordfish was based on a strange talkshow on film An afternoon of dog. Travolta states, and learned esthete close, why this script did not stand up to the bottom, and how the likelihood of the classic 70 (with its dramatic tension) would have required that the hostage taker and fell to the act, déquillant in a hostage per minute, then we would have seen the film ... Exactly the program proposes the cyberthriller Today, real Operation Swordfish 2 to this title.

Technically, this is a film negotiator, genre already covered on the screen by Denzel Washington (Inside Man), here in the role of dark heroes.

Opposite on the same goat (in a suggestion "about-facesque" which does not), the real heroes, and special fuel (enriched uranium), the film emerges crackling decor Central.

Tension. This Mephistophelian hero, ours is one of the best actors alive, if not all their master, actor dreamed of Cenci reviewed Artaud, John Travolta. Travolta not the "Elvis Chakiri" of musicals gueuleSaturday appetizers Night Fever or Grease certainly perfect in their kind, the unheard of after Travolta, life after life, psychiatry (depression) and Scientology saving, the transfiguration of, say, from the Archangel Michael bâfreur of cornflakes and affronteur of bulls, or Broken Arrow, the ruler of bullshit Travolta Basic or other Battlefield Earth. It worried him, notoriously affected this year by the death of a handicapped son; unnecessary concern, it is there immutably, magnetic, air taken en bloc.

Hat and goatee of geek spic apocalyptic military port dancer, thin lips, black hair loss in speed, tension and relaxation together, unexpectedly, he is the spirit, the breath, the nerve, the astral body of the drama. This is the mouth of this oracular Travolta Ryder giving the word metaphysical mystery panic committed: "We each have a life to go." Theme developed elsewhere in "With me, you have redeemed your life. Forgive me mine. At ten, I draw and do not make me wait for the coup up to ten ... "

Bonneteau. Stack is the last time, returned to bonneteau, exposure intello distanced Operation Swordfish. Masterpiece in a masterpiece, incidentally complicated reading of a re-model abyme in 1974, Pirates of the metro (see below), whose film of the day is a remake, the 123 subway attack is an infernal machine. Sizzling, download and Derailments, sprawling plot network layers, as the city delirious even subverted New York: crissements of sirens and cars, roar of helicopters, traffic interchanges and bridges, central traffic control Metropolitan (NYC Transit) above and below ground, the skein of railroad tracks underground, Manhattan Transfer at Last Exit to Brooklyn by way of Grand Central trains and ghosts.

The "gamble" by Pascal in the 36th below 36th Street, convoi 123 in the year 2009, a switch node as Gorgons where would the human condition itself. Between Technology (monitors, brake lights and gunfire, and electronic vermin - rats ... the railway station), securities gains and ethical views of the lower, from man to man, between loss and salvation .

The sound and editing, pace, combined with clapping and short circuit, cut-up on solarized sonic guitar riffs and shreds of synthetic groundwater, are exciting, panting, hachures.

Ditto the duo of actors, Duelists to tense words in a "prison-confessional" - symbolic tomb open, Socratic dialogue disjunction between a cab driver and a train lost Cerveau central failure. The voice of one (Denzel) soothes and timer, the Cree and other stress (Travolta) - the fluff ...

The attack in itself, this Subway Attack 123, is a model - bracing, framing, and Brownian motion of camera, lighting, power, loneliness blouseur the background, the whole opera worthy of a western melvillien case. The countdown to the key, soon in real time, in a line We won tonight, is no less exemplary - exemplarily taking exciting. Fatum industrial pure Greek tragedy of the "American Dream" reduced to nothing: money, hostages, conduits, autodétruits cops everywhere, paralyzed traffic, sirens, blank stock. That unit, primary decorum: Catacombs contemporary new ruins of modernism, theater of the absurd nature around the fatal "third rail", all having served as a framework for actually turning, and necessity of the coup during the months of ultra-serious introduction to the laws and dangers of the underground.

Bullets. In the same things important accessories, the comparses exterminators are perfect angels, even to wipe the plaster and bullets. Luis Guzmán, viscous accomplice quickly erased, John Turturro, the cop passed, Mayor James Gandolfini in rotten ... As for the numbers of bravery, they are obviously not lacking. Neither the scenes IV. That the admission of the innocent to guilty, or vice versa, is biblical. The quite wellesien (truth and falsehood) of the moral point of view and film.