Directed by David Leitch
Written by Zak Olkewicz, based on the novel Maria Beetle by Kôtarô Isaka
Starring: Brad Pitt, Aaron Taylor-Johnson, Joey King, Andrew Koji
A reluctant hitman reevaluating his life (Brad Pitt), two brothers (Aaron Taylor-Johnson and Brian Tyree Henry) returning the kidnapped scion of a crime family, a father (Andrew Koji) seeking revenge, and a young psychopath with an innocent face (Joey King) are some of the nefarious characters that have boarded a high speed train heading from Tokyo to Kyoto. Each of them has their own scheme, but what most of them are unaware of is how each of those schemes will bring them in conflict with the other, and that not everyone may survive this wild ride.
Bullet Train can come across as a more convoluted clone of a ’90s Guy Ritchie action comedy, with constant flashbacks interrupting the flow as it attempts to set up the later narrative. Once enough pieces of the background are established the film manages to relax into this stylistic choice without it seeming so disjointed, but it is a choice that Bullet Train indulges in, even up to the last few minutes of its screen time. Due to this the various overlapping characters and motivations can be a chore to keep up with. This is exacerbated by the themes of luck and fate that run through the narrative, which often trump the overcomplicated plans in place. As such, there is a lot of setup for the plot but the payoff is diminished by it mainly being down to the whims of chance.
Then there’s the question of a vastly disproportionate number of the character’s being foreigners in Japan. Author Kôtarô Isaka states that they’re unconcerned with such changes to their original work, as their characters are so deliberately exaggerated as to not be realistic in any way. Yet it’s hard not to feel that the themes of eastern mysticism and Japanese crime families are somewhat clunkily transposed to predominantly American actors. It’s just one more thing to suspend disbelief of, in a script that is already asking audiences to buy a lot.
Which is a pity, as David Leitch gives us some stylish action set pieces delivered with plenty of cinematic flare and more than a bit of violence. The fight sequences are certainly the highlight of Bullet Train, as Leitch’s background in stunt work allows him to shine. The cavalcade of actors also seem to be having a lot of fun in their roles, delivering some really enjoyable performances – from Pitt’s reluctant reformed hitman, to King’s Machiavellian teenager, to Henry’s Thomas the Tank Engine-inspired philosophy, there’s a lot here to bring a smile to the dial.
Bullet Train might be a bit of a rough ride, but it’s ultimately an enjoyable one, just managing to stay on track.
