User Reviews

This is a pure exercise in style from the Luc Besson school of film making. A handsome gangster joins ranks with a school of dropouts who populate the Parisian subway system, hounded (but never phazed) by transportation police. The trouble is that head honcho Fred has fallen in love with the pretty but stroppy wife of one of his BCBG victims, and strife ensues below the streets of gay Paree.

Christopher Lambert is amazing as the stylish rebel gangster with a heart, Fred; Isabelle Adjani is pretty but, as always, deeply annoying -- she just exudes arrogance from the bottom of her dainty little heart. On the sidelines we see an impossibly young Jean-Hugues Anglade, Jean Reno and Jean-Pierre Bacri. I actually didn't recognise Reno, that's how young and unknown he is here.

If you have a deeper interest in cinema, this is a straight ten. It's amazing how Besson brings together great style, action, fun, pace, acting, dialogue and amazing characters. Unlike most directors who film in the province and try to make it look like Paris, Besson films in Paris but makes it look like Metropolis.

Unfortunately, there isn't much of a plot and zilch suspense. The film starts with a heated heart-to-heart between Fred and pretty Héléna, and since we are aware that their affair can't end but unhappily (albeit in an incredibly chic way), the suspense is exactly zero. So if you just want entertainment, you should better pick one of Besson's later movies.

Truly I had no clue about what was going on in French director Luc Besson's offbeat, but terribly jerky story involving a sly safe cracker fleeing to the underground Paris Metro, after stealing some important documents off a millionaire that he would try to ransom off to. The bubblegum romantic-crime-drama premise is a washing machine filled with ideas, which are hanging off a very loose, but unpredictable plot. There's not much groundwork, but its impulsive nature, trivial gimmicks and interesting urban environment just gets you caught in the disjointed whirlwind of these strenuously adventurous situations, melancholy despair and eccentric characters. The delirious script never takes itself seriously (the humour is strong) and feels insignificant, but it sure had many awkward and lumpy exchanges. Some passages feel quite useless, and have poor continuity, but there's a certain charm that's hard to resist. The English dubbed version sounds quite terrible though.

It's like Besson has thrown caution to the wind, and is experimenting with his visually sharp prowess and stylish verve to get any sort of impact and details through. His placement, pacing and overall enthusiasm is impeccable. Some action sequences, mainly the opening car chase scene is very well delivered. He draws so much form very little and never seems bounded by logic. From the get-go he storms right in and never lets the smoking composition, slick atmosphere sway off course. Brimming in is an electrifying tacky electronic / rock soundtrack (by Eric Serra) and Carlo Varini's camera-work beautifully illustrates Besson's characteristically moody framings. The worthwhile cast do an admirable job. Christopher Lambert's broodingly dry and grasping performance has an immensely hypnotic ambiance to it. An alluring Isabelle Adjani draws up an infectiously collected, and classy performance. There's enjoyably fine kooky support from Jean-Hughes Anglade, Richard Bohringer, Jean-Pierre Barcri, Michel Galabru and the always delightful Besson regular Jean Reno.

Besson's "Subway" is resourcefully fun and colourful pulp, if a rather jaded experience.

I watched this again to see if the integration of flashy Hollywood values into French cinema looked any better fifteen years on, and it really didn't. The movie's extremely loose plot and visual restlessness have their engaging elements, although more in theory than practice: I wish, for example, that the contrast between the initial elegance of the spiky-haired tuxedoed Lambert suggesting a punkish James Bond, and his ultimate incarnation as a doomed Robin Hood, were more interesting. The movie also contains traces of anarchy (Adjani disrupting a constipated upper-class dinner party); conventional send-up (the ineffectual cops); scattered cultural references; and apparent unapologetic self-indulgence. It occasionally makes it as a kind of scrapbook of high-concept images and impressions, but is probably best summed up by Lambert's ineffectual, smirking central void of a protagonist. The final delivery of a would-be significant message through an utterly trashy song doesn't cap it off much.

At the time, a huge box-office hit in its native France - and as a result of the rising popularity of lead actors Christopher Lambert and Isabelle Adjani, something of a cult film in the UK - Subway (1985) was seen as a companion piece to Jean Jacques Beineix's earlier art-house classic, Diva (1981). Together, these two films can be seen as both the development and the continuation of the concerns and preoccupations of the then-newly dubbed "cinema du look" movement; a brief cinematic resurgence in French cinema that saw a younger generation of filmmakers looking back to the days of Godard, Truffaut and the Nouvelle Vague, and combining that sense of playful experimentation with elements of early 80's pop culture. It would be the film that finally introduced director Luc Besson to a wider commercial audience outside of the confines of the French art-house, and really - when looked at as part of the natural progression of his career - seems light years away from his first film, the wordless science fiction parable, Le Dernier Combat/The Last Battle (1983).

The characteristics of the cinema du look movement involved preoccupations with doomed love and alienated Parisian youth, applied to a plot that was both cool and iconic. This can be seen quite clearly in Subway, with its mixture of film noir conventions, pop music, subterranean youth-culture, action and broad attempts at humour. As others have previously noted, the film and the style that it employs are very much of their time; presenting a very 80's take on listless youth replete with a central character that looks like Sting, a synthesiser heavy soundtrack that manages to work-in two specially composted New Wave pop songs, some shocking fashion choices (though most of these are admittedly back in vogue) and that general unique, indescribable feeling that you often get from many French films from this era; in particular Buffet Froid (1981), One Deadly Summer (1983), The Moon in the Gutter (1983), First Name: Carmen (1983) Hail Mary (1985), Betty Blue (1986), Mauvais Sang (1986), Jean de Florette/Manon des Sources (1986) and Besson's own subsequent picture, Le Grand Bleu (1988). Subway doesn't necessarily have much in common with these particular films in terms of style or content, but it does have a similar languid feeling, bizarre eclecticism or eccentricity, and an atmosphere that feels very much true to the country and the time it was produced.

Overall, the film could be seen by many viewers as something worryingly lightweight; with the knockabout plot, colourful caricatures and continual bombardment of cinematic style perhaps being seen as a smokescreen to the thin plot and ironic characterisations. Like Le Dernier Combat, the ultimate problem with the film is that it can't quite decide whether or not it wants to be an action film or art film; with the combination of the two very different styles never quite gelling in perfect harmony. The opening car chase and initial descent into the bowels of this subterranean underworld hidden deep beneath the Parisian Metro system seem to suggests that the film will be all high-style and high-energy. Subsequent scenes however take a step back, giving us some cool, neo-noir like interaction between Lambert's laconic safe-cracker and Adjani's bored trophy wife, while the opposing forces of police and gangsters begin closing in around them. It is the kind of film that will definitely appeal to a certain kind of viewer, perhaps a more mature audience who are open minded to cult European art cinema, or perhaps maybe a dedicated audience interested in seeing how the director of such highly acclaimed action thrillers, such Nikita (1991) or Leon/The Professional (1994), started out.

After first seeing the film a few years ago I wrote "This has no heart. It is an experiment in cinematic formalism; obsessed with technicality but also consumed by the self-indulgence", which to some extent still stands, but I think, with repeated viewings, I've come to enjoy the film and see more of an allure and attraction to the characters of Fred and Héléna, who, quite clearly, struggle throughout to maintain face and make the right decisions in a world that neither of them truly understands. As a result, it might just be the kind of film that takes a few viewings to truly captivate the audience, especially after drawing us in with that aforementioned car chase (which nods to Claude Lelouch's iconic 1974 short film C'était un rendez-vous, whilst simultaneously prefiguring much of the Besson-produced film series, Taxi). Subway clearly isn't a masterpiece. Like his first film, Le Dernier Combat, and the recent Angel-A (2005), it shows Besson at his most inventive and experimental, sampling from a variety of different genres and producing something that is chic and stylish, without ever being truly captivating. It is however an interesting film and one that will no doubt appeal to fans of some of the films aforementioned, chiefly Diva, Buffet Froid and Mauvais Sang, as well as some of Besson's own lesser-known works.

Fred (Christopher Lambert) escapes from gangsters stealing some important papers and crashes into the Paris Metro. He in his tux is hiding out in the subway. He negotiates an exchange for ten grand from the gangster's trophy wife Héléna (Isabelle Adjani) but she doesn't pay. He befriends roller-skating thief Jean-Louis whom the cops call Le Roller. Roller introduces him to the underground world of the underground. Roller has a gun and a scheme to rob the weekly subway money transfer.

This is full of the Euro-fun style of Luc Besson. It's full of memorable characters. One of them is Jean Reno as the nameless drummer. The plot is a bit meandering but the visual imagery is unforgettable. Roller skating down the escalator is fun action and Besson injects music like in a music video. The cops are a little inferior stylistically although Batman and Robin is a fun name.

Before seeing the film, I knew absolutely nothing about it other than it was released in the 80s, and reflected the 'cinéma du look'- an 80s film movement. My first impressions were that style had been perhaps over-emphasised in order to smokescreen a less-than-intriguing plot, but later on I found the film to develop many relevant and pertinent themes, such as gender, social class, and national identity. Music played a significant part the film, and the director played around with both diegetic and non-diegetic music. I had heard Subway compared to Drive by an acquaintance, but I found few similarities myself other than the use of synthesised music, and in terms of camera use, several close-ups of characters' expressions to show emotions and the building of relationships. The film depicts the 'underground culture' of the metro, where Fred meets many colourful characters, many of whom do not serve the plot, but bring humour to the film. In terms of class, we see a distinct contrast between the bourgeoisie characters, and the habitants of the metro, with the character of Helena sliding from one to the other. Interestingly in terms of gender, the metro appears to be portrayed as a 'mans space', and Helena is later shown as a strong woman, who makes her own decisions. It is said that Luc Besson mixed genres for a playful effect and for reasons of style over cinematographic statement, and references to popular culture, such as the mention of Batman and Robin. The ending is rather ambiguous, we are left wondering the fate of Fred and what will happen regarding his relationship with Helena. Overall, despite a plot which is not strictly concrete or wholly intriguing, the film is enjoyable and aesthetically pleasing, with humour and romance which was pleasing to see.

Subway is full of action and will take you places you have never been. The lead character, Fred, is constantly on the run from the cops and is wanted by the woman of his dreams, but not in the way he wishes. This film throws you into an unfamiliar world filled with quirky characters, all of which are involved in some sort of shenanigans deep in the depth of a Paris subway station. Moments after Fred's buddy, a thief notorious for riding on roller skates, gets arrested on the subway, Fred is chased through the long dark corridors, zigzagging through the crowds to escape their hold. He then flees their sight by slipping into an elevator and maneuvering his way through the secret passages of the subway.

Luc Besson directed Subway in 1985. The films main actors include Isabelle Adjani (Helena) and Christopher Lambert (Fred). Subway is not rated. Filming was partially held in the Paris Metro and the Paris RER, along with scenes filmed on sets. After spending his night at an upper-class party held for the lovely Helena, Fred gets his hands on very important documents belonging to an entrepreneur/gangster, Helena's husband. He abandons the party and winds up on the run in the Paris Metro among exotic strangers.

Fred discovers this convenient hiding spot among people who are similar to him. He can't help but fall in love with the woman out to get him, Helena. All while becoming part of the underground world of the subway Fred and his friends are persistently being chased down by the police and their enemies. To add even more pizazz to the film, Fred gathers a group of musicians to play incredible tunes that comprise the soundtrack of the film.

The music in Subway really gives it a unique touch. It isn't the kind of music you hear in your typical action movies. It has it's own jazzy vibe to it. Also, the fact that a piece of the film is centered on the music really draws you into it more. It is fun to see these characters who are lounging around underground all day, make some ear pleasing music. It sets the tone as a eccentric, action-filled film.

I recommend this film. I must include that children should steer clear of watching this film, because of its vulgar language. I think many people will enjoy this film, because Luc Besson has created something different from the norm. With this film you can get some laughs and be put on the edge of your seat at moments. Its interesting music makes it amusing to view and listen to.

9 October 2000

Subway is Luc Besson's first film, a french director who nowadays is known all around the world for his bold and striking films that all have a style of their own.

Here is a director from France who wants to give the audience something they're not used to seeing on the big screen. A fashionable, chic and new wave cinematographic style, bright colours and artsy shots in a sophisticated setting. Luc Besson gives real life a touch of inaccuracy and invalidness. The numerous characters are succumbed into a false reality. The location of the film is quite fascinating because the viewer gets introduced to a metro in France and step by step our main character Fred (Christophe Lambert) discovers hidden facets in an underground environment occupied by striking people with witty and flamboyant personalities.

This film is involved in the cinema du look movement that spanned out through the 80s and mid-90s in France. This film relies on style and the value of it's adventurous camerawork but not too much on substance. This film would've been superior if it had an interesting story to accompany the visionary style of Luc Besson. The story is extremely puzzling, you don't know why any of the characters are being portrayed as bandits. The opening scene is unbelievably confusing, it starts with a police chase, all I wanted to know was why he got himself in this situation and I never got an answer. They almost make it seem as if it's made to be that way, as if it's entirely normal that the viewer doesn't understand the reason of all the chaos that's taking place. I had to browse the internet to get my questions answered and now that I have acknowledged the entire plot of the film, it still feels the same way as when I watched it. An extremely thin plot that didn't captivate me at all.

I moderately recommend Subway, Luc Besson's imaginative, inventive, perceptive and innovative style of film-making is extremely interesting to delve into and analyse with a critic's point of view. However when it comes to the general plot of the film, it falls incredibly short. Subway should be thought of as a piece of art instead of a movie.

It would be difficult to describe "Subway." Fortunately, I threw it into the DVD player knowing only who directed it, who starred in it, and that it was set in the Paris Metro. Maybe that was a plus for me, since I had no idea where the serpentine, if occasionally silly, plot was going. Suffice it to say that Christophe Lambert is chased into the Paris Metro, clutching some files that Isabelle Adjani is desperate to get her hands on. Of course, there's a romance with them, and a number of supporting characters--a roller skating purse snatcher, a smart cop, a dumb cop, a philosophical flower vendor, etc. Like many Luc Besson films, this one is over the top from the get-go, a crazy ride to nowhere, surreal, perhaps, but a bit obtuse at times with its eye-rolling symbolism. But it's fun, especially the excessive 80s look of the costumes and hairstyles, and Eric Serra's synth-and-bass-heavy soundtrack. Between Lambert and Adjani, I have to reserve all the praise for the lady, who deliciously scores with superb comic timing.

Besson's second movie and the first in a 12-year succession of successes that kind of ended with "The Fifth Element". In that period, Besson established himself as the most American looking of the French directors and also as an important figure in what was called "Cinéma du look"; a movement that favoured style over substance and that, surprisingly, I really like. This movie is a good example of it, with a convoluted narrative but a fresh visual storytelling; very 80s and very cool. Also, it has iconic performances by Christopher Lambert and Isabelle Adjani and a cute secondary role for the great Jean Reno, forever linked to the works of this director.

If you want an early-80s French film that looks good and has a perceptible plot, try DIVA instead of this eye-popping failure.

I agree that Besson has a wonderful visual sense, and he obviously loves the Metro (as I do too, having visited Paris not long after this film was made). But all the cool costumes, chases, and quirky characters can't make up for the absence of a decent story. (Jeunet figured this out and made MICMACS, a much better film about quirky characters who live at the fringe of society.) There's a wonderful car chase at the opening and then it's literally downhill from there. Blackmail, a holdup, a bizarre rock band in an underground music store (featuring composer Eric Serra on bass), a dysfunctional marriage...they're all mixed together, topped off with an awful ending.

Serra's score is a great example of 1980s synth/jazz, unfortunately spoiled here and there by completely idiotic lyrics. Fans of Besson, lovers of subways, or folks needing an 80s overdose might enjoy this film. And whatever you do, avoid the dubbed version, which unfortunately was all that was available from my streaming video source.

Besson... or pre-Besson... only the name fit right already... anyone who sees the movie can feel that its director was aiming for higher points... all the movie (if you catch it in its widescreen edition) is filmed geometrically and Besson uses all the length of the field to capture emotions, moments, visions in a film that refuses to take itself seriously, and only wants to amuse people... if you're looking for the typical Besson movie, watch this one: style-breathing, visionary, gripping and good-humored. Eric Serra's score reflects perfectly not only all an atmosphere but also the evolution of a partnership between director and composer. Check out the way the film starts and never stops. I never saw a movie which reflected so perfectly an intense, artificial atmosphere, and a so vivid characterization of the labyrinths society can create and the sub-creatures that can live inside it... I wish I was French and that I was born 10 years earlier, so that I could live more of this movie when it came out, as well as all the movies by Besson. Oh well, I'll stick to reality and marvel at this finely crafted movie, which I never get tired of. 9 out of 10!!!

I can't believe I just wasted over an hour and a half watching this movie. To make it even worse I'm spending another 3 minutes telling you this.

I'm a fan of Besson and have been since "Leon" and will continue to be. I was curious about this film since I read the reviews posted on this site.

This movie starts out with a bang and then goes flat for the next 90 minutes or so. I love 80s movies but this one just lies there like fresh roadkill. Let me put it into perspective.

It's as if John Hughes and John Carpenter had a kid and that kid wrote and directed this movie. I'm sure the creators were thinking, "Does Molly Ringwald speak fluent French? No? Well let's get Isabelle Adjiani and dress her up to look like Ringwald". They even cast a guy whose name is Jean-Hugues Anglade to be "The Roller". Jean-Hugues = John Hughes. Am I the only one who sees this? I'm not exaggerating these things. I was reminded of movies like The Warriors/Escape From New York/Sixteen Candles & Ferris Bueller's Day Off but I failed to see the humor in anything except seeing Jean Reno with hair and playing the drums. He must have practiced for weeks with those drumsticks.

At least HE learned to play the drums and picked up a paycheck at the end of this film. I was only left with option of rewinding the tape and returning it or destroying it so no one else would have to endure what I just did.

This is a brilliant film worth watching several times. I have at least. But when I first found this film on VHS, I accidentally got the English dubbed version which more or less ruins the film as it is a French movie with particular emphasis on the French language and its articulation. When Gesberg, the head of police, refers to his two agents as "Batman" and "Robin", there is a hell of a lot difference between pronouncing it in English or French. Hear it for yourself and enjoy the movie. Very entertaining. The opening scene with the car chase really gets the movie going and it just keeps up the speed and at the same time remains ironic and tongue-in-cheek. A classic 80's movie!

This movie had a very unusual plot. It was basically unexplained, and at the end I was left wondering what I had just seen. It's not that the movie is hard to follow, rather that it doesn't give you much to follow. The main characters are never really defined outside of the specific events that occur in the movie, and vague references to events immediately before the beginning. Perhaps this was done on purpose, to avoid tying down the identities of those who were involved, in an effort to create the sympathetic characters most films aspire to. But it left me feeling like I'd missed something.

The film included shady denizens of the Paris Metro, but I'm not sure it focused on them as much as I expected. I expected the film to be about a normal main character running across an unbelievable array of weirdos in the subway, but the weirdos simply weren't that weird. I think I've actually see weirder people in the Paris Metro in real life. Instead, the weirdness in the movie comes from its lack of definition. An unidentified main character having stolen mysterious "papers" from the unknown rich husband of some random woman he happened to meet on the street.

I'm not sure what the movie was trying to get at, but I think it was leaning toward inspiring spontaneousness in all things and the consequences that brings. It really didn't ring any bells of resemblance for me with any of Besson's newer movies (Léon, Fifth Element), even though it had a score by Eric Serra and Jean Reno made an appearance. It also had the Eighties stamped into and slobbered all over it.

I can only recommend this movie to Besson fans trying to get a bigger picture of his work, 80's freaks, or anyone interested in trying to decipher cryptic movies.

I perused over some of the other comments by IMDB users and for the life of me I cannot fathom what other people are raving about in this film. The plot was barely anything to speak of, the dialogue was terrible (a waste really with all the potentially good actors in the movie), and the music by Serra was tedious at most. I do understand that this movie was released in 1985, but his lyrics were so uninspired that it made me cringe just to listen to them.

For the first ten minutes or so of the film, I kept on telling myself that the storyline would soon pick up. Unfortunately, it never did. The "climax" of the movie where all the loose pieces were supposed to come together left me feeling cheated. The finale left me feeling that Subway was a total waste of my time.

Well at least I got to see Jean Reno in tight jeans and a headful of hair.

When I first saw this movie I was magnetized by its unique atmosphere. Luc Besson created amazing out-of-genre movie. "Subway" inherits traditions of european films of the 70-ies and has something new and magnetic at the same time; and it is certainly Besson's most european film. Maybe it is the reason of it's not so high ratings by american critique. Strange, but Lambert's early and best roles in "Subway" and Marco Ferreri's "I love you" are crossed out by his later films. Talking about "Subway", this movie stands in a row of other films of the middle and the end of the 80-ies that were last before the sunset of european cinematograph and the wind of pan-american influence. And although many american movies are real masterpieces, two traditions can't be mixed. This is one of those cult films that create amazing style that can't be repeated. And although I find "Leon", "Nikita" and "5th element" really good movies, they all were commercial projects. And "Subway"... well, who saw it, they will understand. And maybe not. 10 out of 10.

I have not seen the film in the 80s, so this comment is strictly from a year 2006 point of view: This film may have been considered good when it has been originally released way back in 1985. When I see it today it is just terribly out dated. Christopher Lambert with a ridiculous blonde hair cut, Adjani totally overdressed in 80's designer clothes and wearing the ugliest pimp earrings I have ever seen. You also see Roller Skates again and you wish you don't. The problem is that the film is only based on decoration, it totally lacks to transport some of the "eighies feeling". Just presenting dead style is not enough to fill over 100 minutes of run time. This is just a pile of decoration without any soul.

When I saw Subway, I wanted to see mostly the talent of Isabelle Adjani, one of my favorites.

As this movie starts, it seems promising with the dark Paris Metro atmosphere, which is a bit similar to our Subway system in Montreal. The weird caracters, the forbidden passageways and of course the hideout, that subway security can't detect nor approach.

But the story is slow despite good performances and the up-going suspence, that if security can snatch those guys. And by the middle of the movie, mostly the last half hour, it is boring.

Too bad for a story which started so well with such a offbeat caracter like Christophe Lambert (in blond, clad in a dark trenchcoat and bearing a neon stick) falling in love with a rich, sultry woman like Isabelle Adjani...

See it for curiosity only...

One of the most boring movies my family and I have ever seen. We didn't really understand the plot (apart from the thief running away from his victim's henchmen). The relationships between the characters are unclear; the reasons behind their actions as well. Musicians start popping up out of nowhere. The end is sudden and unclear. Many loose ends remain.

The trailer is also misleading (full of action scenes, which turn out to be the only action scenes in the movie).

A complete waste of time in my opinion.

High-speed trains, stations lighted or in dark, crowded or deserted, underground tunnels and the mazes of the subway networks have long been an ideal space for interesting films and especially for quality thrillers, from his Larry Peerce's 'The Incident' from 1967 until 'Kontroll' by the Hungarian director Nimród Antal made in 2003. 'Subway' made in 1985 by Luc Besson fits well in this good company. It was only the second feature film of the French director made when he was only 26 years old, but we can already find here many of the creative and original features, the pace, the audacity, and a degree of disregard for the social and cinematic norms that they would make him one of the important names of French and international cinema in the coming decades.

Luc Besson takes a story not too original and does not do too much to develop it beyond the basic premises. We don't have too much psychology in this movie, its story and the characters don't offer too many interesting things at first glance. An occasional burglar breaks a safe deposit when invited at a high bourgeoisie party, a young and beautiful rich woman gets tired of her tycoon and gangster husband and of the hypocritical conventions of the upper classes and looks for something else, the two will be chased by a police commissioner who seems to have come from other French police films and his incompetent subordinates, competing with a gang of gangsters incompetent as well. What is different is the setting in which the action takes place, which is for the most part the seemingly infinite maze of underground Paris. This was, in fact, the space in which the story of many books (signed among others by Victor Hugo, Alexandre Dumas, Gerard de Nerval, Gaston Leroux) and some films inspired by these books takes place, but here we are dealing with an underground world invaded by the modernity and the technology of the 80's. And yet, this is a different and contrasting world than the one 'above', where many unexpected things are possible from love stories to the formation of musical groups. Dangers, violence, tragedies are not lacking either.

Viewers who will focus on the way the film is made and the colorful characters that populate the underworld will find plenty of reasons of satisfaction in the 'Subway'. The film begins with a spectacular pursuit that seems to belong to Luc Besson's later films, but continues underground, where cinematography and scenery create the feeling of dynamic claustrophobia accompanying the entire film. Isabelle Adjani is gorgeous, a bleak beauty looking for an alternative to a glittering but empty of content life. Christopher Lambert has the most remarkable performance in this film, a role very different from others in his career. I also was delighted by the presence of Jean Reno in an original role that precedes his fame and by Michel Galabru, a formidable actor whose roles as police commissioner fit him like a glove. Éric Serra's music accompanies the film and is part of the action. Luc Besson has managed with 'Subway' not only to make a special and original film, which has enjoyed public success as well, but has also signed a declaration of independence from the film noir or the traditional French action films proving that it is decided to make cinematography his way.

I looked forward to watch this Luc Besson movie. I never saw this earlier movie of him but after watching and liking L'Ours, The Fifth Element, Léon, Nikita, Le Grand Bleu and many others I was expecting something of the same quality. Unfortunately this wasn't the case with Subway. I think I even overrated this one as the story doesn't make much sense and isn't well constructed, to end as a movie I wished I didn't waste time on. Subway is a mess that looks watchable but with a plot that ends up to be a complete waste of time, something that looks unfinished. And it's not because of the cast as those are all top French actors. I do like Christopher Lambert, Isabelle Adjani, Richard Bohringer, Jean Reno and Michel Galabru, all actors that played in great movies but Subway isn't one of them. Maybe we can blame it on the fact he was debuting but soon after that Luc Besson showed he was a talented director that made great movies. Let's keep it at that for an excuse.

There are a lot of people who rate this film so perhaps I just didn't understand it but I suspect that there wasn't much that needed understanding. I am a great fan of French films but this one seemed pretty pointless to me and there is little to say about it. It didn't satisfy either as an "entertaining" film (it has no real plot) or as a "thought-provoking" film (no character development, no analysis of human relations, etc). It also seemed to me to be very self-consciously American in style, if not a rather crude attempt to make a French film more palatable to the US market. There's nothing wrong with imitating the style of a country whose movies have conquered the world but I didn't think the director achieved it with any subtlety. Even the title of the film is a US English word. I guess it's just not my kind of film.

As soon as the movie started it caught my eye by it's unique visual style, incredible camera angles, and striking characters. I find the movie incredibly funny, wich is surprising since this is not a comedy?

By the way.. what is this? I guess the out of genre designation fits this movie very well.

I love these gliding movent scenes, the photography... Amazing camera artwort. Delicious.