Without real emotion, nor characters deep enough beyond their standard punchlines, nor formal brilliance in the action scenes (the most original were compiled in the trailer), Bullet Train hardly rises above everything coming from the poseur, sometimes amusing, often flabby guignolade. At this stage, we are no longer within a switching error. If you liked it in Inglourious Basterds and especially in Once Upon a Time…in Hollywood (which earned him an Oscar), you will follow him without asking yourself too many questions in this laborious trip aboard the cannonball train.įor the rest, Bullet Train in vain multiply the declarations of intention, under intrigues, winks and ostentatious slow motions, it arrives at its destination in the same way as any vulgar blockbuster: in a mush of digital explosion pulling so much towards the cartoon that it totally contradicts the relatively realistic context of his killing game. By his supernatural relaxation and his manifest desire to inhabit his Zinzin-Zen alter ego, Pitt succeeds in the feat of magnifying dull dialogues and almost systematically tears a smile from us with each reply.
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Nicknamed Ladybug by his sponsor (Sandra Bullock, mainly used in voice-over), the mercenary in search of non-violence must recover a briefcase full of dollars and, on the way, face a handful of other assassins, all on the same train to a myriad of common reasons.
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Definitely a great actor in all registers, he demonstrates once again his screw comica in the role of a hired killer tired of guns (he will leave his at the locker of the station) but embarked on a final mission aboard a Shinkansen connecting Tokyo to Kyoto.
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Several shots are content to scroll a train in computer-generated image in equally digital settings, for a result that is never visually stimulating. Worse still: when he has in his hand one of the oldest and most fascinating cinematographic objects since Arrival of a train at La Ciotat station, Leitch does practically nothing with it and never really plays with the singularity of the place or even with the swift beauty of the machine hurtling through the Japanese fields. Himself a stuntman, understudy for Brad Pitt on several of his films and co-director (uncredited) of the first John WickDavid Leitch therefore knows his business and had all the cards in hand to guarantee us a summer escape led with a bang.Īlas: for lack of real flesh on his showy skeleton, the more the intrigue of Bullet Train advance, the more boredom wins, especially since the journey lasts more than two hours (1h30 was more than enough, children!). Mowed down at regular intervals by flashbacks as laborious as they are useless, Bullet Train drags another unfortunate ball: fights with choreographies that are certainly readable but too wise, light years away from the euphoric kung-fu ballets of Kill Bill or even crazy fights from the trilogy John Wick. Director David Leitch ( Atomic Blonde, Deadpool 2, Fast & Furious: Hobbs & Shaw) does not have, alas, the talent of its models, and the emptiness of its narrative – coupled with visibly self-satisfied but very hollow dialogue – quickly derails our attention. A nice swindle which, under the facade of an action comedy (falsely) stuffed with good words and fights, aboard a racing car plunged into a pretty bath of saturated colors, reveals a painful lethargic emulation of the styles of Tarantino and Guy Ritchie. With Bullet Train, we naively hoped for the Orient Express, we barely get a Corail in second class.
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![blonde brilliance blonde brilliance](https://i.pinimg.com/736x/26/f5/23/26f5234da5bc2262c13bac9e81d31562.jpg)
EYet another trailer that promised us mountains and wonders… and yet another American entertainment that confused us.