Subway Riders

I have watched many movies and this has to be the worst film I have ever seen.

Please do not make the mistake of assuming that this will be entertaining B-movie stuff. Subway Rider's sole claim to fame is that it created a new category of film – Zzzzzzz-movies. Guaranteed to cure insomnia.

Most of the film is shot at night and it is almost impossible to work out what is going on (this film may have worked better on radio!). The cinematographer must have had his lighting rig stolen on the first day of shooting. (I personally suspect, that after reading the script, the cinematographer pawned the lighting equipment so that he could buy enough drink to get him through the 3 days of filming!)

It is no coincidence that 'Driller Killer' was filmed one year before Subway Rider was shot. If Abel Ferrara is not going to hell for wasting our time with Driller Killer, then he is surely going to be fanning hell's flames with his film stock, for inspiring Amos Poe to make Subway Rider.

`Hep cats' may check out this film because it stars underground saxophonist John Lurie. Trust me, they will get everything they deserve! In the film, John Lurie shoots people after luring them to deserted areas with his music playing. After hearing him play the saxophone it is clear that, given time, justice would have been served and a member of the public would have beaten him to the draw.

If you are still thinking of watching this movie please do not ignore the fact that it stars Robbie Coltrane. Subway Rider was Robbie's third film and, despite starring in 'The Pope Must Die', his career never recovered from its downward trajectory.

Series of bizarre murders occur in the New York subway. On the edge detective (super cool Robbie Coltrane) trying to solve the crimes, and his drug addicted wife. Saxophonist getting on the nerves of his call girl neighbor. Lonely woman attracted to the killer.

Murder mystery, poetic narrations about loneliness and yearning. Tilted camera angels, playing with colors and lighting, seemingly unnecessary shots of the city and fast editing, occasionally out of place soundtrack, cheesiness of B-movie slashers - nothing makes sense, but it all fits together perfectly.

'Subway Riders' is by no means classical narrative murder mystery. The story is not important. It is just an excuse to create the mood, and atmosphere. It is a wonderful experiment with style. Style over substance, and yet there is something deeper in that film.

'Subway Riders' is not an easy film to watch. You have to be in some special mood, and without any expectations because it's not your regular thriller. There is no way to analyze this film (at least I can't). If you are into experimental cinema then 'Subway Riders' is something to look up. It is a wonderful treat of unconventional film.

Night streets. Saxophone player is letting the sounds from his horn fill the empty streets, and there's a killer on the loose. Hard boiled cop on the edge trying to solve the horrendous crimes, while his marriage falls apart. Neighbors who are annoyed by the sax players midnight's improvisations.

'Subway Riders' is crime thriller directed by one of the No Wave Cinema pioneers Amos Poe. Interesting is that No Wave Cinema emphasized the mood more, than style and storytelling, but 'Subway Riders' is all about style. And the story itself is quite interesting, although incoherently told. Darkly lit (or even without any lighting at all) scenes that are mostly under- or overacted, tilted camera angels, unnecessary jump cuts, seemingly pointless scenes between minor side characters mixed with long scenes of someone driving a car, or drinking a coffee. But all this mess is put together so well, that it turns 'Subway Riders' into entertaining piece of art that mixes loneliness, sadness and madness with sax sounds, and gory crimes.

If you have to watch a moody experimental film on rainy night, then let it be 'Subway Riders'. But don't expect your regular '70's/'80s slasher thriller. This one stands much higher.

This needs to be released on DVD. Very much worth your time as an early Robbie Coltrane vehicle. A Humorously befitting forerunner prior to his enrollment in the excellent BBC "Cracker" series. Also featured is Lance Loud the ex-front man of New York's, Max's Kansas City mainstay "The Mumps" in his first film. The Mumps were an important precursor in the New York punk rock scene. I haven't seen this film since the mid eighties. It did embark on some areas of slasher sleaze and cheese which were no different than Abel Ferrara or Herschell Gordon Lewis' era of excellent exploitations in independent film. I would like to see this again someday!

This experimental neo-noir thriller is more interested in style and atmosphere than in its narrative, but it does fascinatingly capture the mood and feeling of urban life.