The biggest difference between the two versions may be the startling amount of foul language and violence in this new offering. Though decently paced, the film's nearly nonstop dialogue isn't very interesting or revealing. To generate excitement, screenwriter Brian Helgeland, who also wrote Man on Fire and L.A. Confidential, has saturated it with obscenities—some casual, some quite direct and intentional.
The language is as assaultive as some of the visuals are meaningless. Scott has always endured the rap that he's a hyper-stylist when it comes to visuals (his more famous filmmaker brother, Ridley, has suffered the same accusations), and this latest film only will bolster those making the accusations. Empty technique characterizes several moments in the film: freeze frames revealing how many minutes are left until Ryder unleashes his promised killing spree; a helicopter takes flight across the screen, while the background remains static. Worse is an extended car race through the city as officials try to get ransom money to Ryder before he carries out multiple executions. Scott, who spent the 1980s directing Tom Cruise blockbusters like Top Gun and Days of Thunder (released in 1990), likes loud machines and things that go boom. Given a psychological cat-and-mouse scenario dominated by talk, Scott finds a way to work in multiple multi-vehicle crashes. Whoopee.
The film has its moments, although the outcome is less than original. But what else would we expect in a summer movie season built on remakes and sequels? Pelham is derivative and, in terms of moral content, depressing. Is it exciting? It has its moments. That's the best that can be said for the film.
Questions? Comments? Contact the writer at crosswalkchristian@verizon.net.
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