The Incident

The only problem I had was the inevitability of dealing with each couple in a singular order. If that had tightened a bit, this would be near perfect. Excellent opening that implies the dread to come and still manages proper intros to a large diverse cast. Surpasses Sorcerer's similar attempt to develop characters. Enters Nocturnal Animals levels of discomforting tension once the hoodlums enter. Incidentally, I couldn't come up with a joke. Do lobsters look up and wonder if fish are flying?

Given the number of characters, it can be argued that it belabors its metaphor for the saying "First they came for the socialists, and I did not speak out.." , but the performances here are so impressive (Musante especially), the characters so vividly drawn (& quickly at that) & the direction so well done that this is easily one of the most riveting films I've ever seen. It's also easy to see why it's forgotten since it's anxiety inducing to continually wonder what you would do in the situation.

Gripping, viscerally frustrating drama arguably takes too much time setting up its characters, however this means each character's response to the central incident fascinates, especially Peters' bluff resentment. Once the conflict starts, it becomes painfully difficult to watch, with Sheen (I'll never hear his latter day jovial chuckle the same way again) and Musante perfect as the vile antagonists, and the eclectic group on the train meshing perfectly. Unpleasant, but undeniably effective.

The anxiety of something violent happening and the impotency to prevent that is painfully relatable. It realistically deals with homophobia and racial tensions. So while the last half of the movie is great, the movie takes unnecessary long to introduce all the different passengers. Also the mayhem progresses too orderly with the hoodlums bothering off every character/couple one-by-one, because the plot has to check them all off

Tense and involving. It feels somewhat by the numbers, though, or heavy-handed, or maybe that's not the term for it either, blah I can't quite articulate it. I think they could perhaps have cut everything that comes before Sheen and Musante boarding the train - maybe it would have felt less neat and overtly message-y that way. Anyways, the performances are good to great, with Musante especially shining, as well as Sheen and Bridges. Very entertaining after the anarchists arrive.

Works blatantly yet effectively as a microcosm of this era, with the likes of homosexuality and African-Americanism explored. Sets itself up excellently, showing the horrors of this duo hoodlums, then paces itself with enough time on each of the trapped characters, before showing them in this bottled-up predicament. May be a little preachy by the end, though this feels like an essential early film of the New Hollywood movement that's culturally revealing.

Criminally underappreciated flick. The menace presented is a bit melodramatic by today's standards, and the group dynamic is a bit unrealistic for much of the film, but it's still a damned interesting character study with some fine performances from the ensemble. Kudos for the production design and cinematography, as well. Some of the details behind the making of this film are pretty cool if you're into that sort of thing.

Stunning, can't take your eyes off it from start to finish.

A tremendously tense film, extra disturbing because of its mundane quality, the challenging implication that this could be you in such a situation - and what would you do? The cast is great, Musante and Sheen as the villains and Beau Bridges are particularly exquisite. The dialogue is generally excellent, but there is something a bit too neat and orderly about the plot progression. The directing smoothes it out a bit but it still feels slightly artificial.

The opening is sensational, but the subsequent introduction of each duo slows everything right down, and by the time they’re all together in a confined location, the energy is all but gone. Each encounter then plays out too methodically, with the compelling black couple’s coming across particularly implausibly, and this betrays its stage roots unfavourably. The acting is mostly superb, especially from Musante and Bridges, while the framing and photography make ideal use of the tight space.

Greatly directed, insane camera work and some incredible shots; that alone makes it a great movie, and the topics it deals with are very interesting as well. It felt a bit long at times, and some characters weren't very fleshed out, but it works really well overall.

All I had was someone shit on the subway when I was in New York

This film's biggest downfall is its non-believability. I just refuse to believe 15 people on a subway carriage would let two douchebags terrorise them without intervening earlier or pulling the emergency switch. I was rolling my eyes too much to fully get absorbed into the film's world.

An expertly shot film, with many creative camera uses and a very compact but interesting setting. It’s an uncomfortable watch, the two “bad guys” know exactly how to get under your skin. The way they “toyed” with the passengers was sometimes more insightful than other (in relation to the brief backstory we are given about them) and went on maybe a bit too long, but its poignant commentary is as fresh as ever.

Stock characters board a subway, panic ensures.

A car full of people are terrorized by two young delinquent bullies. The passengers shrink in fear and try to suffer through the ordeal. The movie attempts to show a hideous side of human nature, and pushes the boundaries of decency. Disturbing final result. One of the soldiers just sits by and watches an injured soldier intervene and get stabbed without helping him. A sad commentary on society. Cheaply made and intensely uncomfortable.

okay movie