Wesley Snipes and Woody Harrelson buddy up in MONEY TRAIN. They are foster brothers working as undercover policemen for the New York City subway system. After an early confrontation with their evil Transit Authority boss named Patterson, they become vengeful and plot to steal his all important money train. Meanwhile, they vie for the affections of the beautiful transit policewoman, Grace, newly assigned to their unit. Harrelson eventually finds himself with no money, no job and no girl, so plans to steal the train on his own. From there the brothers alternately fight and work together to try to save both their own lives and the lives of the passenger train traveling the same tunnel as the money train.
Both Wesley Snipes and Woody Harrelson showcase their easy, dynamic chemistry in MONEY TRAIN, but even their interaction can’t save the film from itself. Uneven, the story is filled with weakly justified subplots and constant gratuitous violence. There are no true heroes here, as policemen fight policemen and brothers fight brothers. Even the plot attempts to justify a pair of policemen who become thieves. These elements along with profuse obscenities overshadow any positive theme of brotherly love and loyalty in this rambling film
(NA, LLL, VVV, SS, NN, A, M, Ab) Pagan worldview; 80 obscenities, 3 profanities & 33 vulgarities; constant violence including direct view of street thief shot multiple times in the torso, a man lit on fire & run over by train, man shoved off platform under moving train, numerous physical fights including knife & guns, men being thrown through glass, cops punching & kicking other cops, passenger trains crashing into each other, a derailed train destroys a section of subway tunnel, a train is riddled by bullets, threats of bodily harm, & action violence; briefly depicted fornication; upper female nudity & scene in strip/bar dressing room; alcohol use; gambling, revenge, theft, lying sexual harassment, racist comments against blacks, whites & latinos, man urinating on cars; and, God is mentioned in the context of a man.