Hellen I like the storyline of this show,it attract me so much

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Abbigail Bush what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

antoniocasaca123 The film "Runaway Train" is one of the greatest mysteries of the seventh art. No doubt this movie is a real case study. I would love to know a lot more about how everything happened in this movie, but unfortunately the DVD edition I have does not have any extras other than a trailer. That is, the "mystery" that constitutes this film remains to be unveiled. How does a masterpiece come about in a film by an unknown Russian in the West (he still had in the US the previous year's "Maria's Lovers"), working with American actors, based on an argument by Japanese master Akira Kurosawa, written to three, including Edward Bunker, an actor who takes part in the film as a prisoner and who in real life spent much of his life in prison and being produced by the duo Golan-Globus, producers who bet on purely commercial films with Chuck Norris and company, many of them B-series, without any tip of interest in investing in characters full of emotions, humanism (in good and bad sense) and existentialism? at one point in the movie Roberts asks "Why this train?" to which Voight replies "Because I want". It is in this instinctive and animalistic way that the destiny of the characters is traced. I also ask: why this so improbable combination of people so different, even in their own nationalities, have joined in this project? Was it also destiny? the duality between the blockbuster and the arthouse makes the film extremely innovative and captivating, a true work of art. I would say that this is a unique case of film, throughout the history of cinema, that manages to perfectly combine, in an inexplicably superb way, concepts of "super-commercial cinema" with "poetry-art cinema". I've been asking myself these questions for 30 years after I've seen the movie 30 times. Most likely, to my sadness, never see them answered and never see unveiled this "mystery." Jon Voight has the best interpretation of his career here. He has notable roles in other films such as "deliverance", "midnight cowboy" and others, has been nominated several times for the Oscar for Best Actor, even won one, but this is, for me, the "role of his life" ( and also in this movie he was nominated for Oscar but did not win). To tell you more, Voight's acting in this film is among the best interpretations I have ever seen in film history. But also Eric Roberts and Rebecca De Mornay have both in this movie the best interpretations of their careers. Rebecca De Mornay was not unfairly nominated for the Oscar for Best Supporting Actress. She was known to the public at this time because of the success of the risky business film, made 2 years earlier, which she stars alongside Tom Cruise. "Runaway Train" is perhaps the only film of her career in which she appears without any make-up, half "messed up", playing a role of this type that has nothing to do with her usual "femme fatale" characters. She is superb, brilliant and more beautiful than ever (even without makeup). Eric Roberts (the only nomination he had in his Oscar career) is also fantastic, lending credence to his naive character with a slight mental inhibition. Konchalovsky's achievement is brilliant. The train looks like a living character in the movie. The music of Trevor Jones is fabulous. The final one is anthology. The scene in which the three characters disintegrate and fight inside the train is to memory. The final sentence of the film is fabulous, anything like "Even the most ferocious animal feels some pity. But I am not a ferocious animal, I am a human being, and therefore I do not feel any pity, "although for me this phrase goes in contradiction (possibly purposeful) with the film. This is because even John Ryan, the prison's director and the most "inhuman" character in the film, has in the end a moment of "humanism." It is he who, realizing his fate, remembers Roberts and De Mornay and tells Voight "What about that punk and the girl?", "Saving" in this way these two characters because Voight responds to him "Oh no, it's just you and me ". In fact, there are many anthology dialogues throughout the film, those kind of dialogues that we never forget. Writing about them would give a book, so much is the beauty and ambiguity of them, so much they stimulate us to think about its meaning. It was a shame the film went quite unnoticed. But, after more than 30 years, I notice that, little by little, the film is gaining status as a "cult movie". I just wanted to see some of the actors in the movie talking about how it all came out, how it all happened. As I have already mentioned, a combination of these arises once in life, or rather, arises once in the history of cinema. And this (cinema) was born long before me and will have a life much longer than mine.

David Poduska The cinematography is good, the action is fantastic, and the music is excellent but characters and their actions are the weakest part of the movie. Nearly every choice the people make seem like the worst on and motivations seem conflicting and confusing. Manny and his partner are mostly unlikeable and basically insufferable. Manny's choice at the end and the death of the warden are frustrating and feels like an undeserved victory for him.

Aki Savolainen I don't think I could dislike the movie that gave us both Machete and Zeus.In all seriousness though, Runaway Train might just be the best film to come out from the crap-factory known as Cannon Group. Unsurprisingly this gem is based on a script by someone head and shoulders above the pack, this being here Akira Kurosawa. But no man is an island, and it takes considerably more than a script to make a movie. Jon Voight and Eric Roberts might provide the best performances I've seen from either one in a chilling setting that beautifully emphasizes the desperation of the characters in both their current predicament and life in general.In addition to compelling cinematography, this Cannon film also surprises the viewer with yet another aspect sorely missing in many of their films: character development. This films grips the viewer on so many fronts and doesn't let go. The Runaway Train might be without a driver, but the film about it very much in control of its own fate, from beginning to end. I was pleasantly surprised by the way the movie almost poetically wraps itself done before the credits roll like any properly told story should.It saddens me to realize how often overlooked this movie is. Before the Cannon Group documentary Electric Boogaloo I don't remember any mention of it, even though I've scanned quite some of their catalogue in search of "so bad it's good" b-movies (and boy, do they deliver that in a steaming pile!)However, Runaway Train is in a completely different category, and despite some minor flaws I do heartily recommend it to anyone even vaguely interested in it. Such poetry in film never comes too often to our screens, so it should be savoured at every chance.

NateWatchesCoolMovies Andrey Konchalovskiy's Runaway Train, based on a script by Akira Kurosawa, is a tour de force blizzard of action heroics, ponderous moments of thought provoking character interaction, and two blistering lead performances that have yet to this day to be topped. Jon Voight plays a convict who was, is and will always be a dysfunctional outsider, and he knows it. His ramshackle, crazy eyed stare and blood stirring, despair laden rants about his place in the world, or lack thereof, are spectacular. He orchestrates a white knuckle escape from the remote Alaskan prison he's been dumped in, with a young, bright eyed convict in tow (Eric Roberts). This is a landmark performance in Robert's staggering body of work. He plays Buck with a sunshiny, sweet disposition and makes him a genuinely likable puppy dog who lives moment to moment, free of the burden of consequence. Until Voight's jaded, brutally paternal influence sears his soul and spurs his loss of innocence. They're a wicked duo for this type of film, facing every challenge with equal parts reckless abandon and world weariness. As soon as the freight train they jump rails out of control, the film picks up speed for some truly breathless set pieces and stunt work that will leave you gasping. Rebecca De Mornay plays a tough railroad worker. Underrated character John P. Ryan plays the hell out of his prison warden role, wallowing in sickening self righteous malice and bullying sleaze. The heart of the film resides in a monologue that Voight shares with Roberts, about finding ones legitimate place in society and growing up. Roberts simple, childlike response visibly breaks Voight's heart as he realizes his tragic hypocrisy and unchangeable ways. It's a dynamite, time capsule moment that alone is worth a re watch. The pulpy nature of the films plot is steered into a profundity by the excellent introspective script, and the fact that the actors throw themselves headlong into their work, and nail every moment. A classic.