Shout by k p
Did you all give high ratings to make a point? Half way through the movie I could not keep my eyes open. Seriously... 8.7 / 10 in IMDB. Crazy!
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@dungrapid5 It's ok, you can dislike something most people like, doesn't mean they're lying
Actors where up to the task, they are the best feature of the movie. The movie had great potential and it kept me to the seat even after it became plastic and Hollywood ish in the end. Many would disagree with me but that's at least that's how I see it. What I want from a movie is to surprise me to take me in a fantasy away from this bad world we live in and take me somewhere different, to challenge me and in the end don't leave me in depressed mood. The movie tried to be a breath of freshness so much it became the very same it tried not to be.
Actors and depth of characters lead the movie to be better then it should. On the other hand zombies and everything about them were an anchor for the movie.
Few movies like this including series Squied games makes me eager to see what future of movie makers outside of Hollywood can give us at least show or if you want give Hollywood studios another perspective as it was with Amazon Netflix studios. Good competition is coming i hopeloading replies
@vmilanovic I don't see how a sad ending makes the movie worse, a fantasy isn't always supposed to take you in a happy, light-hearted world. If the ending was any different I'm sure it wouldn't be as meaningful or emotional
[8.8/10] The basic moral compass of Train to Busan isn’t hard to uncover. Compassion and altruism are not just valued; they are the measure of worth. Selfishness and indifference are not just bad; they are damning. Seok-woo’s journey in the film brings him from one end of the spectrum to the other, from looking out only for himself in difficult times and neglecting his daughter to constantly put himself at risk to benefit others and ultimately sacrificing himself to save his little girl and a veritable stranger.
The film has scads of fantastic qualities. It’s a truly frightening horror film. It’s a thrilling action film. It is well-acted in moments amusing, tense, or heartbreaking. It’s shot and constructed with an intensity and virtuosity to make the wide variety of moments at play here work. It even finds a way to give shading to a whole troupe of characters in a short amount of time so that their close scrapes and unfortunate demises have meaning and emotional impact.
But the best thing about Train to Busan is how it maximizes that essential feature of the zombie genre -- the ability to turn situation after situation into a moral test. Like the best undead flicks, this is not just a creature feature, content to sic hordes of flesh-eating monsters on likable-enough protagonists and call it a day. Instead, it asks the audience what they would do, what they would sacrifice to save others, what risks they would take because it’s the right thing to do even if it puts oneself in the line of fire, over and over again.
Those ethical thought experiments carry the impressive visual acumen of director Yeon Sang-ho’s approach to zombified terror, and they’re steps along the path toward Seok-woo’s journey from dastard to hero. But they also valorize and damn those who pass or fail them, and exemplify the themes the movie is so interested in, of compassion made manifest, classism abounding, and the lack of absolution that comes from “just following orders.”
All of these ideas are realized in chances to throw your fellow man under the bus (er...train) or instead save him when you could succumb to the zombies yourself in the process. They’re dramatized in the cruel and duplicitous COO of a train company who’s constantly ordering around or even sacrificing those lower in the pecking order than he is. And they come alive when investment fund employees, train assistants, and even soldiers are given orders to do things they know are wrong, but must decide whether to carry out anyway.
That’s the secret weapon of all zombie films -- they are as much about the horror that lies within the hearts of man as they are the chomping ghouls pursuing the living. No sequence in Train to Busan represents that better than the climax of the second act, where a band of plucky survivors have made it through car after car of ravenous zombies and nearly reached the safety of the first class cabin.
On one end, our heroes frantically hold and bash and struggle to keep the zombies from getting into the intermediate care. And on the other, they push and beg and fight to be let into the safety of the car ahead, which has been tied off to prevent them from getting in. The threat is not just the inhuman beings who thoughtlessly nip at your flesh; it’s in the human cruelty and self-centeredness that lets innocent lives perish to save your own skin. Both threats must be overcome, and feed on one another.
There are few more cathartic moments than when an old woman, sitting safely within the front car, witnesses those scrappy survivors banished by her cowardly compatriots, not to mention her selfless sister left to succumb to the dead, and opens the door to the zombies to give her fellow passengers their just deserts. It speaks to the moral opprobrium and throughline that runs through the entire film.
Even if you’re not interested in ethical conundrums made all the more salient through the lens of flesh-eating monsters, Train to Busan works at a pure craft level as a dose of both terror and action. Sang-ho and company know how to construct any number of scares and superlative sequences to keep your blood pumping. Whether it’s a mass of zombified soldiers rushing our heroes, quasi-stealth missions though undead-infested train cars, or daring escapes from tipped over coaches stuffed with zombies only held back by rapidly cracking glass, the film’s creative team keeps the frights coming one after another and with supreme skill.
They also know how to put together scene after scene of jaw-dropping action. There’s a sense in which Train to Busan is akin to something like Night of the Living Dead meets Die Hard. It can boast an undercurrent of social commentary and an estranged husband and father making up for past mistakes in a hairy situation. But it also features a heap of regular joes improvising thrilling solutions to the onslaught of undead. That comes in the form of bruising beat downs of snarling zombies, races against time as the hordes advance, and chained up skirmishes leaving hero and villain alike dangling perilously from a moving vehicle. If you just want average folks doing above average stunts, this is the movie for you.
And yet, what elevates Train to Busan is that it imbues so much character and feeling into those moments, whether bombastic or quiet. There’s not much time to develop anyone here, since most of the survivors fall into recognizable archetypes and there’s a lot of them. But the movie packs in tons of personality to make up for it, focusing on the relationships between the characters, expressed in miniature but recognizable to the audience.
That gives the movie power when Seok-woo slowly but surely puts himself through bigger and bigger risks to protect his daughter and the other innocent people caught in this danger. It gives it meaning when a hard-scrabble, lower class man proves himself more worthy of praise and admiration than the rich bastard throwing all his neighbors to the proverbial wolves. And it gives it emotional force when Seok-woo’s daughter sings the song she’d been practicing for her dad, unwittingly saving her life, feeling seen and responding with admiration for her father for possibly the first time, in a tragic way.
For all its zombie spills and chills, for all of its well-done action, Train to Busan isn’t really about its high octane horror. It’s about the moral choices we make in difficult circumstances, what they say about us and how we see ourselves, and how those crises can uncover the better people we might still become, if only to save those we love.
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@andrewbloom Nice read. I'd like to point out how the movie also tries to be sincere about the negative aspects of selflessness. Having as an example the old lady who never thinks about herself and ends up having a meaningless death, or the train driver who is killed for trying to save a person that doesn't deserve it
A completely pointless, post-apocalyptic psychological thriller that fails as a cautionary tale because it has zero teachable moments.
17-year-old Travis had the hots for the other mom. Was that explored, resolved or utilized later? No.
Paul seemed to be growing envious of Will bonding with Travis. Was that explored, resolved or utilized later? No.
Paul was suspicious of Will's backstory because of the slip-up about his brother-in-law. Was that explored, resolved or utilized later? No.
The film spent more time showing Will and Kim fucking than any kind of meaningful interaction between the two families or their family members.
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@erebos I do think it works as a cautionary tale, at least what I took from it is that protecting your loved ones at all cost may not be worth it if you have to abandon all sense of morality to do so. Paul was so focused in their survival that he only offered his son lessons and crude love, which left Travis in a hard need for bonding and affection.
But I agree that it left a lot of things unexplored, Travis' death was mostly bad luck, and there's no point or meaningful lesson for his parents. What's left in the end is only hopelessness and depression, which may be intentional but I wish there was something more
Meh. Felt like more like a Wandavision two part finale. The treatment of the Illuminati was awful. The plot still doesn't make sense. Is Wanda bad or is she the victim or what? She should have been locked in magic prison after her show - she mindraped thousands of people - but whatever, she cries a lot so I guess we should like her again? Claptrap.
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@aniela-krajewska We're repeatedly reminded of the wrong things Tony did. Like you said by Wanda and his brother in Ultron, by a woman who lost her child in Sokovia because of him (watching that scene it's clear he lost sleep over it), by both villains in the first and second Spiderman...
The difference is that he actually learns and is not treated like the victim for having to change. But when Wanda gives up her illusion and has to confront the Westview people she's told that ''they'll never know what she sacrificed for them'' as if their anger is unreasonable, then she proceed to do something worse.
Still It's not about her morality, terrible people like Loki can still be likeable characters, but the show should be more honest about it instead of excusing her as not being in control
More brain dead than zombies, anyone who thinks this is somehow a 10 or revolutionary or one of the best zombie movies needs to see more zombie movies. It's filled to the brim with tropes, stupid choice, uninteresting characters, and survivors who can't survive "damn my gf get turned because of the guy who can't stop causing the death of people? better not do anything and die with her in my arms" I want to blast my brains out
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@hopetrash He's not an action movie hero, he's a kid who saw his friends and many other people get eaten alive, excuse him if he's not completely logical after multiple traumatic events
Why exactly is there a GIRL on the poster of SPIDER-MAN?
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@skythe I think it's because she's a character in the movie
Meh. Felt like more like a Wandavision two part finale. The treatment of the Illuminati was awful. The plot still doesn't make sense. Is Wanda bad or is she the victim or what? She should have been locked in magic prison after her show - she mindraped thousands of people - but whatever, she cries a lot so I guess we should like her again? Claptrap.
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@aniela-krajewska It's not for having done bad things, it's because the show constantly pities her as if those events were something dramatic that happened to her instead of her own wrongdoings. In wandavision she is presented as the focus of the tragedy rather than the pain she caused on other people. Same in this movie, all the nameless people she's killed don't matter as much as seeing her kids scared which makes her very very sad. The other characters don't get this treatment, we're meant to feel bad for what they did more than for them
A pointless film takes in place on a train where every first class citizen parties and no sleeping quarters visible.
A security officer designed the train in a way that you can break the security by touching two cables together. That guy should have been fired while train was in production.
Rails that is never covered by snow no matter how hard the winter is.
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@gergefil damn you must love cinemasins
