Directed By David Leitch

Starring – Brad Pitt, Aaron Taylor-Johnson, Bryan Tyree Henry

The Plot – Ladybug (Pitt) is an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug’s latest mission puts him on a collision course with lethal adversaries from around the globe-all with connected, yet conflicting, objectives-on the world’s fastest train. The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan.

Rated R for strong and bloody violence, pervasive language, and brief sexuality.

BULLET TRAIN – Official Trailer (HD) – YouTube

POSITIVES

“Bullet Train” rumbles to the finish line of its two-hour destination with enough acceleration and intensity to fire the engine of a full-fledged locomotive three times around the globe. It does this not only with the masterful direction from Leitch, who combines enough geographic relevance in the Tokyo scenery to elicit an alluring presentation, but also in the kinetic synergy of various action set pieces, which keep its audience gripped to the edge of their seats throughout a story with its own abundance of twists and turns to constantly re-evaluate its own ever-changing circumstances. Because the film has so much ample time to properly play around with, we’re treated to three-dimensional characters interjecting the kind of corrosively combustible elements that do eventually resonate during the moments when karma can be felt the loudest with their springing impacts, giving way to a variety of meticulously placed plot devices, that while repetitive the longer the film persists, conjure unpredictability in the various forms they materialize when the wick of their fuses blow at spontaneous moments throughout. On the subject of those aforementioned characters, a stellar ensemble, with a few cleverly placed cameos along the way, bring forth a barrage of boldly vibrant personalities to life, springing everywhere from Pitt’s magnetic charm and underlining empathy to Joey King’s maniacal macabre borrowing the focus between many scene-stealing instances. However, for my money the real heavyweights persevere in the duo of Aaron Taylor-Johnson and Bryan Tyree Henry, whose picture-perfect chemistry and sensational banter cement a brotherly dynamic that I could never quite get enough of, and one I feel is deserving of their own prequel to tap further into the heartfelt undertow of two dangerous assassins made whole by the value of the other in their respective lives. There are also clever touches in the personality of the production value, with crisp cutting editing, Japanese performed soundtrack selections, and visual cues in both English and Japanese that appraise an air of authenticity to the Kung-Fu characteristics that so evidently inspire Leitch’s presentation. These aspects keep the film grounded within the geographic influence of its culture, offering a reminder in every spellbinding, neon-luminating shot, but beyond that echo the visual flare with the overtly comedic tone that dominates much of the film, bringing with it an irresistible charm that can be found in a majority of David’s previous efforts. Finally, while praise was packaged to the prestige of the film’s many diverse action sequences, both in and out of the train, the particulars of their aspects deserve a section of their own to lay out the depth in their transferrable impacts. The energy of the fight choreography, combined with a claustrophobic cinematography constantly fleshes out a mounting vulnerability and urgency within the dynamic of the many characters in conflicts, made all the more riveting with the ferocity of a hard R-rating that never wastes the opportunity to make them or us squirm. This sometimes lends itself to believable C.G.I blood with a thickness in texture, or the brunt deliveries of various objects within the train cars that are echoed all the more immersive with razor sharp sound design that is impossible not to wince at.

NEGATIVES

While the film transcribes an infectiously rich good time, there are moments when what’s created can prove itself to be too repetitive or forceful the longer this train ride persists. This is especially the case with the complete tonal imbalance of the script, which lends itself too faithfully towards humor so often that it often undersells the moments of heart or dramatic intensity needed to properly flesh out the magnitude of the stakes that are constantly hanging in the balance. This can be felt the strongest during the climactic third act of the movie, with a few unsettling developments in the script completely swept under the rug for the various one-liners that Pitt’s character spews like he’s trying to impress someone just off-screen. It starts to become a nuisance when we don’t ever feel the fear or sorrow to register what the visuals are showing us, instead choosing to be a film that would rather be cool than coherent and feeling more like a Deadpool sequel (Same director) without the titular character needed to sell that gimmick. Beyond this, there’s convenience littered casually throughout the experience, bringing forth a series of unshakeable questions that I couldn’t elude the further these strange instances maintained. In a train with literally hundreds of people, why do none of them use the restroom or the bar car during the entirety of the film? Where do they go when the climax comes and none of them are to be found anywhere? How many people work on this train? Because I’ve seen three throughout the entirety of the film, and one I’m still not so sure about. There are other questions, but they surmise spoilers, so I will leave them out. The point is that certain glaring conflicts within reality are never even remotely addressed, and we’re just kind of forced to go along with the design of a world that feels so silly that it’s nearly satirical, where every non-speaking character feels in on the joke. Finally, and most consequentially to the integrity of the experience, is the convoluted essence of the storytelling itself, which begins promising by filling in the gaps of our ensemble before the conflict takes shape, then grows bewildering with each passing instance. Sometimes this leads to characters who don’t live five minutes after they’re granted a backstory, sometimes this leads to snakes or water bottles (You read that right) that only serve a purpose to spring a laugh, and other times they take away from the plot at the forefront for so long that they completely wipe away urgency of the engagement. Never mind that the development of these characters and their various connections becomes tedious to follow the longer the script fleshes out the significance of every (And I do mean every) single relationship, for better or worse, the coincidences burn away any semblance of subtlety, almost becoming predictable the more the film exploits this gimmick, with little to no concern with the pacing of their arrival with each diminishing return.

OVERALL
“Bullet Train” isn’t an unstoppable action-comedy showcase, but it is comfortably entertaining as a gunpowder milkshake of combustible ingredients emulating everyone from Tarantino to Ritchie. Though some inescapable hinderances nearly knock it off of its track of stability, the infectious charms of its complete ensemble, as well as the rip-roaring intensity of some of the year’s best action sequences keep the film on its way to reaching its destination, providing a summertime thrill ride that never relents with turbulent twists or brunt brutality as fuel for its engine.

My Grade: 7/10 or B-