Filmmakers have been ripping off the motormouthed, jukebox-boogie style of Quentin Tarantino for so long now that the ripoffs have spawned their own ripoffs, which in turn have spawned their own ripoffs, and so on into oblivion. The latest branch of this incestual family tree of archly violent hitman comedies is Bullet Train, a hyperactive, supersized barrage of jocular kill-or-be-killed mayhem.
Ladybug, as Pitt’s character is codenamed, has a seemingly simple assignment: snatch a briefcase of ransom money from the train in question. Trouble is, it’s being transported by the movie’s answer to Jules and Vincent — a pair of nattering, hitmen brothers from a different mother named Tangerine and Lemon . The two are escorting the cash, along with the kidnapped screw-up crimelord scion they’ve rescued, to the kid’s notoriously brutal Yakuza-by-way-of-Russia kingpin father, The White Death.
Surprisingly, this relentless cocaine binge of a yuk fest has literary roots. It’s based on Japanese author Kōtarō Isaka’s acclaimed, bestselling novel MariaBeetle. Isaka generally specializes in mysteries, which accounts for the twisty, locked-room plotting and the Clue-board eccentricity of the characterizations. Bullet Train is a bit like a version of Murder on the Orient Express where everyone’s trying to kill everyone and no one’s trying to solve anything.
Are we genuinely meant to care about the cold-blooded assassin with the habit of comparing his marks and mates to characters from Thomas & Friends?
Source: Entertainment Trends (entertainmenttrends.net)
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