Starring: Brad Pitt, Aaron-Taylor Johnson, Joey King, Brian Tyree Henry & Hiroyuki Sanada
Directed by: David Leitch

Distributed by: Sony Pictures
Release Date: July 2022
Running Time: 121 mins

Synopsis: Unlucky assassin Ladybug is determined to do his job peacefully after one too many gigs has gone off the rails. Fate has other plans, however, as Ladybug’s latest mission puts him on a collision course with lethal adversaries from around the globe – all with connected, yet conflicting, objectives – on the world’s fastest train. The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan.

Bullet Train is an ensemble film led by Brad Pitt, which features an eclectic mix of hitmen and assassins aboard a Tokyo bullet train – each of whom have contradicting missions that bring them into conflict with each other. The film is based upon the novel Maria Beetle from Japanese writer, Kōtarō Isaka, and while it maintains the same location and aesthetics – particularly with the anime character Momomon – it does suffer slightly from “whitewashing” by substituting some of its Japanese characters for American ones. Obviously, the main intention behind this switch was to allow like Brad Pitt and Aaron Taylor-Johnson to appear in prominent roles, but it also has the unintended consequence of making the film feel more international and global in scale as these various nationalities come together in Japan. Framing Brad Pitt as the lead character – especially as one so inept and clumsy – gives the film a nice “fish out of water” tone that would be missing if all of the characters were Japanese.

Pitt is very likeable as the unlucky hitman Ladybug, often causing misfortune to those around him rather than any direct bad luck to himself. Pitt shows his range as an actor as he plays against type, coming across as neurotic and hapless rather than the typically cool and calm personas he has adopted in films such as Ocean’s Eleven and Fight Club. The ensemble cast allows for plenty of actors to make brief, and impactful performances – often getting killed off in a sudden and unceremonious manner. Aaron Taylor-Johnson is a highlight in the film as the hitman Lemon, verbally sparring with his partner Tangerine throughout the film and proving himself to be a bona-fide action hero – a stark contrast to his character in Kick-Ass. The fact he does this with a cockney accent makes the film feel very similar to Guy Ritchie’s early work like Snatch and Lock, Stock and Two Smoking Barrels. A comparison that is further evidenced by the frequent flashbacks, cutaways and interconnected plot threads that end up tangled together as the story continues.

Brian Tyree Henry also impresses as the Thomas the Tank Engine obsessed Tangerine, providing some of the film’s more humourous sequences as he compares those he encounters to the archetypal characters from the classic kids’ television show. Joey King also showcases her acting skills as the mysterious girl who seems to be orchestrating events aboard the train, playing nicely into the juxtaposition between her looks and her character’s motivations. Actors Andrew Koji and Hiroyuki Sanada both seem sidelined initially, but gain much greater prominence in the film’s final act and help to provide the film’s Japanese voice through their performances. With a number of characters meeting their end prematurely, it does feel like some of the supporting actors are underused, but that does add to the surprise and unpredictable nature of the story. The film also packs in some neat cameos from Channing Tatum, Ryan Reynolds and Sandra Bullock that act as fun jokes and slight fourth wall breaks.

To accommodate its ensemble cast, the script constantly switches tracks and follows different characters – often using flashbacks and Family Guy-style cutaways to provide context and flesh out their backstories. This stylistic choice feels extremely postmodern, and the razor-sharp script is reminiscent of Martin McDonagh’s films In Bruges and Seven Psychopaths, indulging in smartly written dialogue to provide exposition. If I’m honest, the first ten minutes or so did feel rather dense and almost overwritten at times, but the film does balance out once all of the characters have been established and their paths begin to cross over. It is here, with these character interactions, that Zak Olkewicz’s screenplay really hits its stride and begins to have fun with its mismatched characters, becoming a criminal comedy-of-errors. As plans deteriorate and the script deploys its various Chekhov’s Guns (a snake, water bottle and briefcase) it becomes an absolute joy to watch the various plots collide with each other and each deadly conflict to explode. The claustrophobic nature of the bullet train itself keeps the action contained and focused, heightening the tension whilst the script applies the right amount of levity. It remains funny without ever descending into farce or minimizing the stakes for its characters. With death signposted at the end of the train’s journey, the whole film is effectively a countdown and this keeps the momentum throughout its 126-minute running time.

Bullet Train not only looks incredible, but it also sounds great too – with a number of Japanese-language covers of iconic songs such as “Stayin’ Alive” by The Bee Gees and “Holding Out for a Hero” by Bonnie Tyler. This mix of English songs performed by Japanese vocalists further highlights the mix of Western and Eastern cultures represented by the diverse cast. Much like how London felt like a character itself in Guy Ritchie’s crime dramas, Bullet Train gains a lot of its unique voice from its Japanese aesthetic – even if it doesn’t quite commit to a full Asian cast.

As a director, David Leitch brings a hyperactive energy to Bullet Train that pairs nicely with its wonderfully multi-layered script, allowing Brad Pitt to really relish in his performance in this crime-caper romp. Witty and self-aware, the film has echoes of Tarantino, Ritchie and even The Coen Brothers about it – playing about with different narrative techniques to facilitate the story that is being told. It feels less of a film at times and more like a story that you’re being told by a friend – complete with the tangents and non-sequiturs that come with oral storytelling. In the end, Bullet Train works because it never pretends to be anything other than a gleefully over‑engineered collision of characters, motives and bad luck. Leitch keeps the energy high, the dialogue sharp and the surprises constant, letting the cast bounce off each other with real spark. Loud, clever and relentlessly entertaining, Bullet Train is a film that knows exactly what it wants to be — and it hits its destination at full speed.

Bullet Train is available on DVD & Blu-Ray from Amazon UK and can also be streamed on Amazon Prime Video.