By Jake Coyle
Aboard the speeding locomotive of "Bullet Train" ride at least five assassins, one venomous reptile (a snake on the train), countless glib Guy Ritchie-esque slo-mo action sequences, and one bucket-hat wearing Brad Pitt.
It's a lot of ingredients that go into this candy-colored, battle royale of a movie. But the only one that really matters is that last one. At 58, Pitt's star power has never seemed so easy and so natural. Radiant in "Once Upon a Time… in Hollywood," delicious in "The Lost City," Pitt glides into "Bullet Train" in an rarified state of cruise control. Seldom has a movie star seemed to be having so much fun.
In "Bullet Train," which opens in theaters Friday, Pitt plays a hired gun by profession but little else. His code name is Ladybug. He doesn't like guns. And in his first job back after a hiatus of self-reflection and therapy, he goes into lethal fights with great reluctance, spouting self-help slogans like "Hurt people hurt people" in the midst of hand-to-hand combat. Pitt, a maximum movie star with a minimalist bent, is a hitman with no taste for hitting.
Ladybug, tasked to grab a very particular briefcase off a train headed from Tokyo to Kyoto, might not be up for the job, but the bigger question is whether "Bullet Train" is a good enough vehicle for its biggest star. Director David Leitch, the stuntman-turned-director of "Atomic Blonde" and "Deadpool 2," has brought the style and energy of a "John Wick" film (he co-directed the first) to a setting that has traditionally been associated with more subtle methods of killing.
But with films like Bong Joon Ho's "Snowpiercer" and the Liam Neeson-led "The Commuter" greasing the wheels, train movies have chugged along since the original "Murder on the Orient Express." Adapted from Kōtarō Isaka's pulpy novel, "MariaBeetle," "Bullet Train" amps the carnage further and shifts the action to Japan.
But the location here is mostly just a neon-lit stage for a high-speed melee with an international ensemble, including Brian Tyree Henry (best of the bunch) and Aaron Taylor-Johnson as bickering British "twins"; Andrew Koji as a Japanese assassin; a Mexican cartel veteran named the Wolf (Benito A. Martinez Ocasio, a.k.a. Bad Bunny); a dangerous young woman called Prince who fake cries her way out of nearly everything (Joey King); and Zazie Beetz's killer known as the Hornet.
All are on the train for various criminal reasons ultimately connected to a Russian kingpin named the White Death. The actor playing this most fearsome character is best left to the third-act reveal, but that's just one way "Bullet Train" plays around with star persona. There's a cameo that answers Pitt's in "The Lost City." Another "Lost City" star, Sandra Bullock, is mostly only heard on the other end of a phone line, as Ladybug's handler.
The copious flashbacks and quirky banter (Henry's character has an outlook based around Thomas the Tank Engine) that accompany the juggling of all these characters in between bloody encounters is a familiar kind of framework recalling a long line of Quentin Tarantino knockoffs. In "Bullet Train," a movie that proudly opts for style over substance, characters are introduced like videogame fighters, running gags get run into the ground and a winking irreverence lands somewhere in between playful and exhausting.
It's no train wreck. Leitch's film is colorful, cartoonish and well-choreographed. But the more-is-more manic energy of "Bullet Train" eventually peters out, since that's all the movie was ever running on. Well, that and Pitt. His charm alone does wonders for the movie, raising it at least to the level of watchable. When, in the finale, Ladybug sails comically unharmed through the wreckage, it captures the situation exactly. "Bullet Train" might go off the rails but Pitt remains bulletproof.
"Bullet Train," a Columbia Pictures release, is rated R by the Motion Picture Association of America for strong and bloody violence, pervasive language, and brief sexuality. Running time: 126 minutes. Two and a half stars out of four.
“Heretic” and “Maria” Set As Red Carpet Premieres At AFI Fest
The American Film Institute (AFI) has announced that Heretic, the psychological thriller starring Hugh Grant, and Maria, based on the life of opera singer Maria Callas starring Angelina Jolie, will round out the Red Carpet Premieres section at this year’s AFI Fest. The Heretic Gala Screening will take place on Thursday, October 24, and the Maria Gala Screening will be held on Saturday, October 26. The complete Red Carpet Premieres section includes the world premieres of Music By John Williams, Robert Zemeckis’ Here, Wallace & Gromit: Vengeance Most Fowl and Clint Eastwood’s Juror #2. All Red Carpet Premieres will take place at the historic TCL Chinese Theatre. The full lineup for AFI Fest 2024 will be unveiled on October 1.
“At the heart of AFI Fest is an unwavering dedication to celebrating the best in global cinema--together,” said Bob Gazzale, AFI president and CEO. “We look forward to uniting artists and audiences once again to be inspired by the art form in a powerful sense of community.”
Heretic follows two young missionaries (Sophie Thatcher and Chloe East) who are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed (portrayed by Grant), becoming ensnared in his deadly game of cat-and-mouse. The film is directed by Scott Beck and Bryan Woods and produced by Stacey Sher, Beck, Woods, Julia Glausi and Jeanette Volturno. The film will be released nationwide by A24 on November 8.
Directed by Pablo Larraín, Maria presents a tumultuous and beautiful depiction of one of the world’s most renowned artists and reimagines the legendary soprano in her final days in Paris, as Callas (Jolie)... Read More