Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Catherina If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Woodyanders Eager deputy assistant district attorney Robert Caulfield (marvelously played by Gene Hackman) has to get reluctant murder witness Carol Hunnicut (a fine and sympathetic performance by the lovely Anne Archer) to testify against a powerful mobster in court. The pair are forced to board a train headed to Vancouver, Canada after narrowly avoiding being killed by two hit men. However, said hit men follow Caulfield and Hunnicut onto the train. Writer/director Peter Hyams treats the terse material with his trademark efficient, economical, and straightforward style, relates the gripping story at a brisk pace, ably crafts plenty of suspense, milks the claustrophobic train setting for all its worth, lace the film with amusing touches of sharp cynical wit, and stages the exciting climax with genuine stirring gusto. The ace acting by the strong cast keeps the movie humming: Hackman and Archer do sterling work in their roles (Hackman in particular brings real depth and a winning wry humor to his character), James Sikking contributes a stand-out turn as shrewd and smooth hit-man Nelson, Nigel Bennett seethes with oily menace as Nelson's cold-blooded partner Jack Woottan, and Susan Hogans brings a sweet charm to her part as the alluring Kathryn Weller, plus there are neat bits by J.T. Walsh as weaselly lawyer Michael Tarlow, M. Emmet Walsh as the sarcastic Sgt. Dominick Benti, Harris Yulin as fearsome gangster Leo Watts, and J.A. Preston as by the book district attorney Martin Larner. The crisp widescreen cinematography by Hyams provides a pleasing polished look. Bruce Broughton's rousing score does the hair-raising trick. A nifty nail-biter.

sydneyswesternsuburbs Director Peter Hymans who also created other classic flicks, Sudden Death 1995, End of Days 1999 and Time Cop 1994 has created another gem in Narrow Margin.Starring Gene Hackman who has also been other classic flicks, Bonnie and Clyde 1967, Marooned 1969, The Quick and the Dead 1995, Crimson Tide 1995, The Hunting Party 1971 and Behind Enemy Lines 2001.Also starring Anne Archer who has also been in other classic flicks, Felon 2008, Clear and Present Danger 1994, Short Cuts 1993 and Fatal Attraction 1987.I enjoyed the shoot outs, chase scenes and the scenery.If you enjoyed this as much as I did then check out other classic train flicks, Runaway Train 1985, Taking of Phelham 123 1974, Under Siege 2: Dark Territory 1995, Snowpiercer 2013, REC 4: Apocalypse 2014, The Midnight Meat Train 2008, Train to Busan 2016, Train 2008, The Commuter 2018 and The End of the Line 2007.

ShootingShark Carol Hunnicut inadvertently witnesses a mob hit, and her testimony can convict a very powerful gangster. Deputy district attorney Robert Caulfield is determined to put her on the stand and flies to a remote location in Canada where she is hiding out, but it's not long before the mob are on their trail. Frantically, they board a large passenger train going to Vancouver, but will they ever get off the train alive …This is a taut, dependable thriller; nothing special, but there isn't a dull scene anywhere and crucially Hyams has real gift for the rhythm of his movies - scenes flow effortlessly together and the atmosphere of tension is sustained from start to finish. The material is familiar but the execution is first rate, and reliable Hackman is the perfect anchor around which the film is built, an action hero without macho posturing or moralistic superiority. The film is as interesting when he's quietly negotiating with the bad guys as when they're chasing him in a helicopter, and that's the way it should be. There's also a terrific score by Bruce Broughton with a creepy four note piano motif, and fabulous stuntwork by Glenn Wilder - the finale atop the train is one of those rare scenes where the actors really look like they are in danger. A remake of the classic 1952 Richard Fleischer/Earl Felton film noir The Narrow Margin, this script isn't quite as clever (in the original the woman is the mobster's widow and there's a clever identity twist), but still has some surprises in store. Produced by Carolco Pictures (They Live, Shocker), with exteriors shot in beautiful British Columbia, this is a bad movie to be in if you're an actor called Walsh - both of them get killed in the first twenty minutes !

elshikh4 It's good as average thriller from the 1980s, but it allowed some nasty questions to hang around in your brain such as : what could've happened to such a picture with another director who wasn't once a respected director of photography like (Peter Hyams) ?!, or if the same script had been given to (James Cameron) or (John McTiernan) ? Actually they might've exploded everything to reach the most extreme limit by making one critical climax after another !Maybe what allowed those questions is the style of the movie itself altogether. Yes, it's a low tune, low budget kind of movie. But, it's nice one. In fact, the problem is mainly in us. We want all the movies to be just one movie (the most successful one in our time) and it's impossible not because the history doesn't repeat itself only, but because that would distort all the movies also ! Here it's fair without any crazy Action or CGI's companionship, and It's great to see (Gene Hackman) in anything. True that this rule has some exceptions, but this movie is not one of them. I think this time I have just the screenwriter to blame not to utilize some parts to make it more hot and perhaps that's the reason why this movie seemed more like a TV production or as one had been made by the 1950s' standards. It's not big, not loud, though not bad. So try to think of it as a clever intermission between (Rambo) and (Die Hard), or as a peaceful version of (The Gauntlet) however in a train, or as a solid old fashion kind of thriller.