Martin (George Romero, 1978). Trains are immediately cinematic, right? The confined space, the limited time before reaching the station, the possibility of being discovered by other passengers or conductors. All that suspense and also the journey’s duration as equivalent to story. This film’s best horror sequence is its first, on a train. Romero’s wider idea was original then and fairly routine now: a sympathetic and non-supernatural vampire satire but with real gore. The unexpected lasting value is in the nearly documentary-like views of a depressed American city. Pittsburgh, naturally.