When a young Los Angeles police department, Special Weapons and Tactics (SWAT) officer called Jack Traven angers retired bomb squad member Howard Payne, by foiling his attempt at taking hostages stuck in an elevator with a bomb, Payne in retaliation arms a bus with a bomb that will explode if it drops below 50 miles per hour. With the help of spunky passenger Annie, Jack and his partner Harry try to save the people on the bus before the bomb goes off, while also trying to figure out how Payne is monitoring them.
A retired Atlanta Police Department bomb squad explosives expert, called Howard Payne, tries to extort money by threatening to kill some people, trapped in a Los Angeles Skyscraper's elevator, with explosives. The city is about to give in when rookie Special Weapons and Tactics (SWAT) officer Jack Traven stops him. Jack and his partner, Harry Temple find Payne and corner him but instead of giving in he blows himself up. He is believed to be dead but has actually escaped and tries again to extort money from the city. This time he has placed a bomb on a bus that will arm itself once it reaches 50 mph and will explode if it drops below that speed. Payne dares Jack to stop him and tells whereabouts of where the bus will soon be and the rules of his twisted game. If Jack or the LAPD try and unload any passengers off the bus, Payne will detonate it. Jack tries to stop the bus before the bomb is armed but it's too late; all he can do now is to keep it going. With Harry trying to find Payne and Jack running out of Freeway and gas - This is one bus ride no one wants to miss.
It&#39;s interesting to revisit movies I&#39;ve seen a lot as a child either on grainy VHS or on tiny TV sets in their full splendor on recent HD releases. For a fan of movies this is one of the best possible future dystopias. <br/><br/>The landscape of action cinema has changed dramatically in the last 20 to 30 years. With the dominance of comic book movies there are a lot more movies with action in them but fewer films that I would actually call action movies, ie where action has a meaning, drives the plot and the emotional connection with the audience forward and has a palpable danger that keeps you on the edge of your seat. In a lot of big modern movies the action lacks weight, both physically and emotionally, a notable if rare exception being Mad Max Fury Road. Furthermore they fail to tell action with a keen sense of the visual language of cinema. The late eighties to mid nineties gave us a few classics that might not have been smart movies but were made in incredibly smart ways, like the first die hard, terminator 2 or speed. Despite being completely dissimilar they share a few key elements that make them stand the test of time. The most important element being rhythm. Much like a musical piece there&#39;s tension and relaxation and exciting action doesn&#39;t work without build-up and the investment of the audience. This also translates into the visuals as well. It is much more evident in the golden age of Hong Kong action in the eighties, where the fight movies can be registered as elaborately choreographed dance moves, but Hollywood action used to share this strength albeit done with different props. For people who only watch movies and have never worked in the medium itself this may sound strange or unbelievable but a movie constantly leads the attention of your eyes from one point to another, much like a stage magician, and composing an image, especially one in motion is a tough challenge. So even movies that noone would call art because of their banal content can be serious pieces of art if you ask me.<br/><br/>Speaking of which the premise of Speed is simple and genius for a thriller (although not entirely original since it was already done in a similar fashion in the japanese movie &quot;shinkansen&quot; decades before) it&#39;s almost a parody. If you were to scribble out the set-pieces for someone who hasn&#39;t seen the movie it would sound like the most absurd trash imaginable, however the language or should I say magic of cinema makes it work and Jan DeBont sells it to you piece by piece, much like John McTiernan and James Cameron did in their prime. What surprised me most about Speed upon revisiting it after many years is how gorgeously it is shot. DeBont&#39;s main strength as a cinematographer is showing strongly and fortunately it&#39;s not just eye-candy as the bone and grisl of the action is captured perfectly. There was some serious thought put into how to tell this movie visually that I miss in a lot of modern blockbusters. Think of a Tony Scott movie but less ridiculous. To be fair though 1995 would see the rise of Michael Bay, a vulgar plagiarist without taste and flair where every shot is so over-engineered and polished as to be absolutely meaningless. I can see how a parallel universe Speed may have looked like under his direction and I shudder. Not everything is shiny in retroland.<br/><br/>As for the few negatives: Reeves (whom I honestly love as an actor) is a bit wooden, Dennis Hopper is hamming it up like crazy and despite the great presentation the finale goes a bit too much over the top and thus loses a lot of the believability that made the rest of the movie so exciting. A smaller scale would have been preferable here. Earlier in the film when we see Reeves just centimeters above the asphalt at breakneck speed we get a better sense of danger than can be achieved with the special effects shots of the ending.<br/><br/>Still, a simple and entertaining movie that doesn&#39;t insult your intelligence, with relateable characters with enough nuance that they feel like people. Speed doesn&#39;t pretend to have a deep plot and lofty messages, it&#39;s just there to take you on a ride - and after being inundated with comic book movies good and bad the last ten years that simplicity and honesty is very refreshing.
This has got to be THE best action movie ever made, okay i&#39;m obsessed, seen it 54 times and counting, but i still haven&#39;t tired of Jack and Annies attraction, or Mac being exasperated with Jack at every given opportunity, nor will i forget Harry, a true hero, and of course the immortal lines &quot;F**k Me&quot; and &quot;Oh Darn&quot;. If you are looking for a gore-fest, or gory punch-up movie then this is not for you. But if classic action rings your bell, with witty lines, great characters, an ass-kicking leading lady and a pretty good script to boot then this film is for you, i haven&#39;t come across anyone yet who has seen this movie and not liked it.
The plot becomes so overextended, as Reeves and Hopper wage their endless public transportation battle, even the hardest Die-Harders will consider leaping off way before the final stop.
LAPD officer Jack Traven (<a href="/name/nm0000206/">Keanu Reeves</a>) must stop a bomb that is set to explode on a city bus if it goes under 50 miles per hour (MPH). With the help of passenger Annie Porter (<a href="/name/nm0000113/">Sandra Bullock</a>), who takes over driving the bus after the bus driver is shot, Jack must keep the bus going above 50 MPH until they can figure out how to defuse the bomb …if they can figure it out. Speed is based on a script by Canadian screenwriter Graham Yost with extensive revisions by American screenwriter Joss Whedon. It&#39;s said that Yost got the idea from another film, <a href="/title/tt0089941/">Runaway Train (1985)</a> (1985), about a train that speeds out of control, and that the ending was inspired by the ending of <a href="/title/tt0075223/">Silver Streak (1976)</a> (1976). Speed was followed by <a href="/title/tt0120179/">Speed 2: Cruise Control (1997)</a> (1997). The bomber, Howard Payne (<a href="/name/nm0000454/">Dennis Hopper</a>), may have placed an anonymous (dead) person strapped with bombs, possibly the security guard he killed in the opening scene, somewhere on his escape route, or perhaps in a car in the parking garage. During his escape, he&#39;d make sure he detonated the bombs after he got out of the way. The explosion would act as a plausible cause of death for him and would also stall the police long enough to buy him time to get out of the building unnoticed. Although human remains would be found at the site, with no way to ID these and with two officers stating that Payne went into the room where the explosion occurred, the police would naturally assume he was dead. Also, Payne says something like he has: &quot;enough dynamite strapped to him to blow a building in half.&quot; Maybe there was enough dynamite there to vaporize him, or maybe he could have placed meat or something in the area to be blown apart, faking his death, and therefore they thought he died. There are multiple shots throughout the sequence showing the interior of the elevator where more than nine passengers are visible. The highest number of passengers visible in a single shot is 12. As no shot shows the entire interior, it&#39;s fair to assume that 13 is, indeed, the correct number. Jack shot Harry in the upper leg, and Harry is presumably referring to the proximity of the femoral artery, a large and vital blood vessel in the thigh. If Jack&#39;s shot had hit him there, he would almost certainly have died within minutes, and they would have to give the bravery medal to his widow. They never disclose exactly how much time had passed from the awards ceremony to the bar partying scene to the first city bus fireball explosion incident. It may have been a few weeks or even months. If Harry was not healed sufficiently, they would never have allowed him back on active duty; especially not with the LAPD SWAT team. Rather, he would be put on standby duty, i.e., sitting at a desk and doing paper/office work at the headquarters. No. When Bob parks his bus, the faint letters of the phrase &quot;NOT IN SERVICE&quot; appear on the headboard. So Bob was the only person on the bus and unfortunately died. The first bus explosion also served as a wake-up call to Jack that the bomber has actually been alive. Payne may have figured that it would be impossible for Jack to actually get to the bus in the morning rush hour in time before it reached 50 MPH. Also, the bomber may be playing the gamble. Since he lost in that elevator incident, he is testing Jack&#39;s knowledge to see who is smarter. Shooting out car tires is a bit of a movie myth, and bus tires are much more heavily reinforced, so it would be very difficult to hit and puncture a tire successfully. It would also be very dangerous to fire a gun at a small, rapidly-moving target on a busy highway, and a person shooting at the bus would almost certainly make the driver speed up to get away. Finally, one of the tires does blow out at the airport, which makes virtually no difference to the bus&#39;s speed or motion, except that it continuously yaws to the left and makes it difficult to steer and control a steady course. It was not written that neatly, and the vehicle was not swerving through the whole scene. During the time that the letter is being written, the vehicle drives straight for several seconds as it is keeping pace with the bus. The one big swerve the car makes is when he drops the note (after it is written) and it lands on the windshield of the bus. Payne once worked as a cop for the Atlanta Police Department bomb and arson squad. When he got his thumb blown off after he failed to diffuse a bomb planted in a bank in Buckhead, he was apparently released and given a tiny pension and a cheap gold watch, which didn&#39;t make him very happy. There appears to be 20. Some have character names and others are credited as &quot;bus passenger&quot;. In the previous scene inside the bus, Jack tells the passengers to hold on and bend forward to protect themselves. This is why you can&#39;t see anybody from the outside shot, because they are bent down. It&#39;s basically Hollywood make-believe. It&#39;s highly unlikely that they would go that fast because of friction, wind resistance, the weight of the bus, etc. In the making of the film, the stunt crew accelerated the bus to a maximum of 61 MPH (98 km/h) when they were hoping to accelerate it to 65 MPH (104 km/h). Through the air, It traveled 109 feet (33 meters) horizontally and, at its highest point, the front end of the bus was 20 feet (6 meters) from the highway bridge. In Mythbusters, the team was only able to accelerate a bus of the same type to 58 MPH (93 km/h), and it kept swerving around. It is possible to do a tape looping because TV crews have that kind and type of filming equipment in their trucks and news vans. Captain &quot;Mac&quot; McMahon (<a href="/name/nm0608012/">Joe Morton</a>) tells Jack, &quot;I only have a minute of tape&quot;, but it could have been a bit longer than a minute. Payne obviously has some sort of transmitter attached to the camera, feeding the picture back to him. By broadcasting from the much more powerful TV van transmitter on the same frequency, they would effectively swamp the camera signal with their own, so Payne would see their looped tape, rather than the real images from the camera. Although not shown, Jack could also simply have disconnected Payne&#39;s camera as soon as the looped tape ran, to prevent the possibility of the real signal getting through and revealing their ruse. All the news feeds have been shut off. The bus is now in the airport restricted airspace, so the news helicopters can&#39;t get too close. We see the police telling the ground-based camera crews to stop filming—an instruction that undoubtedly also went to any news helicopters filming from a distance. As such, at that time, the images from his camera on the bus are his only method of monitoring what&#39;s going on. Since Payne could not hear any conversation but see only the people sitting in their seats and Jack standing next to Annie, he wouldn&#39;t know that the tape was looping. Also he was in the bathroom when the tape actually switched over to the loop. So he would not have seen the moment of transition. Mac instructed the major networks to cease broadcasting at the same time as they created the loop feed, so in effect the networks would have only been broadcasting previously-run footage and re-iterating what they knew, with the ground crew unable to report further under orders from the LAPD. Probably because the speedometer on the bus is analogue and the speedometer underneath that is on the explosive C4 device is digital and more accurate. You can see the red digital number counting down from 59 until 50 and blowing up. Also, the bus by this time was completely out of fuel. Once the gas tank is empty and runs dry, the bus will slow down to a stop and explode. So the bus most likely completely ran out of fuel as it drove through the aircraft hanger and approached the cargo plane. As soon as the speed hit 49.99981061 MPH or so, it blew up. No, it was a Boeing 707 freighter cargo plane of the fake, fictional airline &quot;Pacific Courier Freight&quot; being towed out of an aircraft hangar across the tarmac. The only person that could have been there when the plane blew up was the driver who was towing the plane. As seen in the movie, he is able to escape unharmed. Because Jack is a cop and requested it. Annie&#39;s injuries were not that serious and maybe Jack thought she could help since he had already gotten in the bomber&#39;s head. Because he didn&#39;t use the hole under the bin to escape the way Jack did. Payne knew that there were about a hundred LAPD SWAT cops on the scene, all watching the bin, so he put on his old Atlanta Police Department uniform pretending to be an LAPD cop. He approached Annie and said that he was sent by Jack to escort her to a safe area. He then led her into the subway by the normal entrance, intending to retrieve the money that had already fallen through the hole under the trash bin. Meanwhile, the officers thought the money was still in the trash can and were not aware of his ruse. Jack climbs on top the subway car where Payne has handcuffed Annie, wearing a vest loaded with explosives, to a pole. Payne hears Jack crawling around and tries to bribe him by offering some of the money. He begins to rummage through the bag only to set off the paint bomb. Angered over his tainted money, Payne starts shooting at the ceiling, but Jack manages to evade the bullets, so Payne climbs on top of the train to kill him. Payne manages to pin Jack down on the roof but fails to see a low-hanging signal light approaching and is decapitated. Jack returns inside the car and defuses Annie&#39;s vest but realizes that he can&#39;t release her from the handcuffs nor can he stop the train. His only hope is to speed up the train as they go into a 90° curve, forcing it to derail. In the final scene, as the car slides to a stop and spectators come running over with their cameras, Annie kisses Jack. He warns her that, as she told him earlier, relationship based on intense experiences don&#39;t work. &quot;We&#39;ll have to base it on sex, then,&quot; Annie replies. Payne is in the process of boasting to Jack that he beat him because he&#39;s smarter. Jack then lifts Payne up just enough that he&#39;s decapitated by a light signal above the train. Making Jack taller, because he still has his head. Many people took the quote literally, because Keanu Reeves was already taller than Dennis Hopper. But the quote should just be taken for what it is; an old-fashioned action movie one-liner.
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