A teenage girl ( Joey King), with another shaky British accent, has a hidden motive. Two other assassins, Wolf (Benito A Martínez Ocasio, aka rapper Bad Bunny) and Hornet (Zazie Beetz) are hot on their heels. They’re travelling with the son (Logan Lerman) of an infamous Russian mobster, known as White Death (Michael Shannon).
PITT FIND PEOPLE CODE
Lemon is obsessed with Thomas the Tank Engine, and has built his entire moral code around it – something that actually originates from Isaka’s novel, but is here rendered largely irritating. “When’s the last time you ate a lemon meringue pie?” one of them argues, which is odd considering lemon meringue pie is an entirely normal dessert option. Two Cockney geezers – Tangerine (Aaron Taylor-Johnson, who’s genuinely manic here in a way that outclasses his co-stars) and Lemon (Brian Tyree Henry) – bicker about their codenames. Ladybug soon discovers that the train is packed with other deadly assassins, all with their eyes on that mysterious briefcase, and all of them rendered as one-note caricatures. It’s action cinema as a tourism brochure. At certain points, Japanese-language covers of the Bee Gee’s “Stayin’ Alive” and Bonnie Tyler’s “Holding Out for a Hero” play. He spends much of his screentime befuddled by Japanese culture – unable to use a smart toilet, rolling his eyes at the train’s costumed mascot, arguing that the public aren’t as “polite” in Japan as he expected. Hitman Ladybug (Pitt), whose code name was decided by his handler ( Sandra Bullock, in a largely offscreen role) since he’s convinced he’s unlucky, is coaxed back into work with what should be a simple job: pick up a briefcase stored on the Shinkansen train from Tokyo to Kyoto and walk away. Instead, the film indulges in a kind of cutesy Orientalism. The film’s cast is rammed with Western actors, while Japanese and Japanese-American stars like Karen Fukuhara and Masi Oka are handed mere scraps of dialogue. The fact Bullet Train is an adaptation – of KÅtarÅ Isaka’s 2010 novel Maria Beetle – seems to have had little effect. Could he not have simply borrowed from himself? Leitch has already made his mark on the pop culture landscape.
Have we not found something else that white guy directors desperate for a visual style can shamelessly rip off? In fact, that kind of derivativeness feels especially odd to see from a director like David Leitch – John Wick, which he co-directed with Chad Stahelski, seems to be perpetually spawning copycats these days. It’s Tarantino-esque at a time when that descriptor is so overused it can only be derogatory. Pitt’s funny here – there’s a precise comic timing to the way he shoves a venomous snake down a toilet bowl – but Bullet Train feels so try-hard in its quirky theatrics that it’s a little like watching a kid repeatedly calling for their mother’s attention before they cartwheel into a brick wall. And it might be why Bullet Train, a gonzo action flick from the guy who made Deadpool 2, feels so slicked with desperation.
PITT FIND PEOPLE MOVIE
The grandeur of movie stardom can be a hard thing to shake off.
I’m not sure how much audiences have been convinced of this, though. Hollywood, and, hell, even this year’s The Lost City. Think his wonderfully bumbleheaded turns in Burn After Reading, Once Upon a Time in. 15, 126 minutes.īrad Pitt has spent decades trying to tell us that, underneath all that leading man sheen, he’s really just a goofball. Starring: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Benito A Martínez Ocasio, Sandra Bullock.
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