Subway

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

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. Read full review

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. Read full review

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! Read full review

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." Read full review

Subway begins as the world's greatest car stereo commercial and ends as the world's worst concert film. In between is a muzzy tale of doomed love; and when doom lowers its boom here, it feels awfully like relief. Rarely has the excitement of an opening sequence been so quickly piddled away. [22 Nov 1985, p.B7]