Avaliações do Metacritic

Result may disappoint some for its singular lack of ambition or purpose and its ragged narrative, but still proves a charmingly cartoonish escapade, strong on humor and rock rhythms.

Subway is a rush of youthful energy so raw and well-realized that it steamrolls any of the director’s attempts to cohere it into an actual story.

Imagine Steven Spielberg gone existentialist, Carne and Prevert making rock videos, a punk "Diva" and Jean Cocteau crossed with the Clash, and you may get an idea of the peculiar charms awaiting you in the cavernous, fluorescent interiors of Subway. [Nov 16, 1985, p.16]

More style than substance here but what style it is and what little gems of cinematic moments collect together in this enjoyable ensemble.

Unlike ''Le Dernier Combat,'' which had humor and urgency, Subway appears to have been a good deal more exciting to film than it is to see.

Setting the movie in this unfamiliar but realistic world is intriguing enough, and Besson handles the action with consummate mastery. But the punk-chic style only accentuates the film's emptiness. That said, Adjani once again proves herself not only one of the most versatile actresses in European cinema, but also the most beautiful.

Overworked by New Waver Luc Besson, it offers visual verve, if not a lot of storytelling savvy...What "The Road Warrior" did for cars, Subway almost does for rapid transit, with its focus on the commuter cars that glide in and shuttle off into the passageways around the Op,era stop, where much of this tragicomic parable takes place. This parable's philosophy, however, is inane, imitative, prepackaged punk. [22 Nov 1985, p.29]

SUBWAY is DIVA with no brains--a film of all style and little substance. Ah, but what style!

The film looks terrific and offers one spectacular chase, but its story and characters are less substantial than even a weak episode of "Miami Vice."

Young French director Luc Besson (Le dernier combat) aims for a little American slickness in this relentlessly empty action film: it zooms along from one arbitrary sequence to the next, and its only aim is to keep the audience pumped up with kinetic stimulation.