BULLET TRAIN feels like someone crossbred Kill Bill with a Final Destination movie. And at times, David Leitch’s film is almost as glorious as that description makes it sound—elaborate and ridiculous but dedicated to making the elaborate and the ridiculous seem, well, not plausible, exactly, but certainly compelling and fun. Not to mention the film’s conviction that there is no level of baroque narrative digression a modern audience will not tolerate. I took something like 50 pages of notes, and I still feel like I caught about half of what happened.
This story is from the August 15 - 28, 2022 edition of New York magazine.
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This story is from the August 15 - 28, 2022 edition of New York magazine.
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