Bullet Train Review – IGN

Bullet Train will hit the theaters on 5th August 2022.

David Leach’s Bullet Train takes itself as seriously as Crank, Smokin Aces or Shoot ‘Em Up; This is either a recommendation or a warning. John Wick and the Atomic Blonde filmmaker translated their brand of electric-magnetic action with all the quirks of prime action flicks of the 2000s. Compared to Netflix’s The Gray Man, it’s a ray of hope that American action can be both colorful and chaotic—Bullet Train is the film that Chris Evans’ The Gray Man performance quite clearly deserves. It’s far from bulletproof, and the action-comedy elements don’t always land, but there’s still enough zip and humility to let the good times roll.

Screenwriter Zak Olkewicz adapted Kotaro Isaka’s Japanese novel of the same name after Pulp Fiction vibes. Brad Pitt stars as a hitman named “Ladybug” who returns to action for a simple smash-and-snatch objective. This promised spontaneity leads to the film’s humor as Ladybug faces several unexpected obstacles. Rival assassins punch their tickets, alien reptiles escape from cages, and Ladybug is convinced her bad luck will never stop as she hunts for packages in her grasp. There is no such thing as a sure victory, which Ladybug learns the hard way as the body mounts and her aversion to firearms becomes a bigger and bigger loss.

However, Bullet Train isn’t just Pitt’s comedy shooting range. Under the direction of Leach, The Assassin Rogue’s Gallery sells its quirks from Aaron Taylor-Johnson and Brian Tyree Henry as the fruity-nicknamed Tangerine and Lemon—the latter a Thomas the Tank Engine enthusiast, as we’re often reminded—musicians. The Bad Bunny is known as the vengeful groom to the wolf (a moonlight accompanies his entrance). Logan Lerman is unrecognizable as the troublemaker son of a Russian crime boss, with a taut and dangerous Michael Shannon playing White Death, said brutal crime boss under Japanese-style masks and rough silver hair. Everyone has their schtick—Lemon keeps equating the characters of Thomas’ friends, Tangerine’s brass knuckles do his thing, the White Death only sees his enemies slay in slow-motion flashbacks—and that’s okay. . There is nothing more complicated than a bullet train warring mercenaries who are fighting on the score.

Andrew Koji and Hiroyuki Sanada bring their martial arts mastery to the rails battlefield, but some may be disappointed to learn that there are big setbacks left for the finale. That’s not to say that Leach’s action choreography fails at first; It’s a more concise, easily editable brawl with actors like Henry and Pitt. Koji single-handedly demolishes opponents in the Cinemax series Warrior, yet Joy is sad with King’s schoolgirl-cute Prince as I will leave undefined. There are elements of Bullet Train that fall prey to America’s less fluidity and more crappy action, and yet it’s never quite as strong as – hated to harp – The Gray Man, or Snake Eyes: GI Joe Origins.

Pitt’s ability to infuse his action sequences with laughs makes the difference. Ladybug continues to recite her therapist’s teachings to counter the ruthless aggression of the Tangerines or the unresolved anger issues of the White Death, and Pitt’s demeanor doesn’t overwhelm the gimmick. Henry achieves the same thing with the knowledge of Lemon’s Thomas the Tank Engine, as he continues to scour the bullet train in Kyoto for “diesel”, aka the main villain, complicating everyone’s tricky mission. There are plenty of noisy moments, like when the sound designer uses the right *thud* noise, when the ladybug hits the tangerine at the noggin with a glass water bottle, even though other gags (like disagreeing lemons and Tangerines exceed their body count) don’t even get off. What’s promised on the tin – Bullets and Trains – is delivered unfiltered, though sometimes heavily indulging in the film’s “whatever comes around it” thematic propositions.

The madness of David Leach’s train never derails or reaches top speed.


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You are here for action, and that is what is consistent. Pitt’s common strategy involves licking until the ladybug comes out victorious for someone else’s bad luck, but even so, he is depicting poor corporal punishment. Better glimpses are tangerines and ladybugs who stop their concession-car commotion so that a pleasant salesperson (an abused Karen Fukuhara) can offer them drinks or everything the ladybug is after. [redacted] Reach your final boss battle. Henry and Pitt secretly slap and smack during a respectable “quiet car” dust-up. Zazie Beetz shines as another agile ladybug adversary, while a cartoon feline mascot delights as the ladybug’s punching bag. Leech incorporates prop comedy as fighters integrate their environmental milieu to ensure throwdowns stay fresh, while violence remains at a serious premium – fatalities include severed heads, half-faces and other bloody spurts. Includes that don’t skimp on graphic brutalities. Beyond the on-screen text fonts and neon glow beneath Tokyo’s night skyline, the influence of Japanese yakuza films on Leech hasn’t been lost.

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