local train movie review

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Local Train is a Kannada movie released on 4 Mar, 2022. The movie is directed by Y N Rudramuni and featured Darling Krishna, Meenakshi Dixit, Ester Noronha and Sadhu Kokila as lead characters.

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Local Train (2022)

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The hero is known for his brave acts until one day he gets involved with the villain's gang. Can the hero save and protect what he loves no matter what comes against him?

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Local Train Kannada Movie

Local Train is a 2022 Indian movie directed by Y N Rudramuni starring Darling Krishna. The feature film is produced by Subraya H Walke

Director: Y N Rudramuni Producer: Subraya H Walke

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Tv/streaming, collections, great movies, chaz's journal, contributors, bullet train.

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"Bullet Train" is an action film that could easily have been an animated movie, and often looks and feels like one. The story takes place on a bullet train careening across Japan, but most of the movie was shot on green-screened sets, and the cityscapes and countrysides that the train rides through are mainly miniatures and CGI. Its characters are a touch abstract as well, and knowingly comic-bookish. All are either paid killers or otherwise violent individuals connected with the world of crime, and the majority either have grudges against one of the other characters or are the object of a grudge and trying to escape the consequences of past actions. They tend to have tragic-sentimental backstories or be purely malevolent—and inevitably, 30 years after the great Tarantino realignment of the early nineties, most of them are chatterboxes who will monologue at anyone who doesn't point a gun at their head and order them to shut up, and the tone mixes winking black comedy and poker-faced pulp. 

Brad Pitt stars as Ladybug, a former assassin ordered to board the train, steal a briefcase, and get off. He's replacing another assassin who became unavailable at the last minute, and he refuses his handler's advice to carry a gun because he just got out of anger management and has renounced killing. Ladybug's fellow killers are a bomber crew of homicidal oddballs. Joey King is "The Prince," who poses as an innocent schoolgirl appalled by the cruelty of men, but immediately reveals herself as a clever and ruthless engine of destruction. Brian Tyree Henry and Aaron Taylor-Johnson (who's groomed to look like the evil drunk Begbie from the original " Trainspotting ") are brothers who have gone from mission to mission racking up a body count seemingly in the triple digits, and now find themselves on the train protecting the briefcase and escorting the depressed twentysomething wastrel son ( Logan Lerman ) of a terrifying crime boss known as the White Death. 

The White Death is a Russian who took over a Yakuza family. His face isn't shown until the end of the story (it's more fun for the audience to resist Googling who plays him, because his casting is one of the best surprises in the whole thing). Hiroyuki Sanada is "The Elder," a greying but still lethal assassin connected to the White Death, and Andrew Koji is " The Father "—The Elder's son, obviously; they're out for vengeance because somebody pushed The Elder's grandson off a department store roof, putting him in a coma. They believe the person responsible is on the train, mingling with all the other agents of death. 

The plot initially seems goal-driven, revolving around the comatose grandson and the metal briefcase. But as the script adds new fighters to the mix, and establishes that they're all tangentially connected, "Bullet Train" morphs into a half-assed but sincere statement on fate, luck, and karma—and Ladybug's constant (and often humorously annoying) comments on those subjects, voiced in discussions through a handler (Sandra Bullock's Maria Beetle, heard via earpiece), start to feel like an instruction manual for grokking what the movie is "actually" up to. (Ladybug is kind of a post-credits Jules from " Pulp Fiction " after having repudiated violence; but he's still stuck in the life, and it has become more challenging because he has resolved never to pick up a gun again.)

Characters are given the sorts of typeface-onscreen-followed-by-flashback-montage introductions that genre fans will recognize from directors like Quentin Tarantino ("Kill Bill" seems to be a primary influence) and Guy Ritchie (who pioneered a particular brand of "lad action" in which verbal insults become little fists and knives deployed against enemies). The fighters go after each other with guns, blades, fists and feet, and any objects they can get their hands on (the briefcase gets a workout as both a defensive weapon and a bludgeon). They banter as they struggle. Sometimes when one of them dies, the film’s tone will shift into a maudlin lament that is often affecting because of the cast's skill, but that doesn't inspire deep emotion since the rest of the movie is so glib and superficial.

The film is directed by David Leitch , a former stunt coordinator and screen double for Jean-Claude Van Damme and this film's star, Brad Pitt, and the onetime directing partner of Chad Stahleski (of the " John Wick " series). He's become a specialist in high-grade acrobatic mayhem, having directed " Deadpool 2 ," " Atomic Blonde ," and " Fast & Furious Presents: Hobbs & Shaw ." It's hard to deny that he's one the best when it comes to overseeing this type of production—and it's a kick seeing "Bullet Train" lean into its most ridiculous visuals, which verge on " Speed Racer ” psychedelia.

But whether this type of project is entirely worth doing is a different matter. It seems to want to have it both ways, telling us "this is all light and silly and none of it is of any consequence" and at the same time trying to whack us across the throat with a moment of dramatic power so that we cry for the characters. Henry and Taylor-Johnson's story gets there, thanks to the love expressed between the brothers even when they're breaking each other's chops, and the performances of the two actors have a direct connection with the audience despite boasting Cockney accents that might not pass muster in a college production of " My Fair Lady ." (The greatest achievement in the film is that Henry manages to take his character's relentless comparison of everyone else to Thomas the Tank Engine characters, and make you not loathe the gimmick on general principle.)

But the rest feels forced and insincere. "Bullet Train" is at its best when it's a comedy about self-styled badasses who think they're free agents but are all just passengers on a train rocketing from one station to another, oblivious to the desires of any individual riding on it. But the abstractness and "it's all a lark" humor neuter aspects that might sink roots into the viewer's mind. 

The project is abstract in another way as well: the script's source is a Japanese novel by Kōtarō Isaka, and the characters were Japanese. Leitch and company—who inherited the project from Antoine Fuqua , who had wanted to make a less jokey "Die Hard on a Train"-type film—have recast the tale "internationally," starting with Leitch's longtime screen partner Pitt. They had reportedly considered relocating the story to Europe, but decided to keep the Japanese setting anyway, and have defended this on grounds that "Bullet Train" is a fantastical film that could be set anywhere, and is basically taking place nowhere.

The explanation doesn't wash, considering how dependent "Bullet Train" is on Japanese signifiers and cultural attitudes (King's character is an anime "schoolgirl" avatar come to life)—not to mention essentially deracinating all of the core characters save for a handful of stereotypical Yakuza, who have been given a Russian chieftain modeled on Keyser Söze from " The Usual Suspects ." Even in a fantasy, the latter seems a stretch, although the actors all sell it like the professionals they are. If nothing in the movie is real—either as a justification for the casting, or as a guiding aesthetic—why not just go full "Speed Racer" or " The Matrix " with it, and own the green-screeness of the entire project, and set it in the future on another planet, or in an alternate dimension? It's practically a Marvel superhero movie anyway, except that the characters can't come back to life after being killed off. The result might've been a delirious work of art, instead of a technically and logistically ambitious movie that doesn't leave much of an emotional or intellectual footprint.

Now playing in theaters. 

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Bullet Train (2022)

Rated R for strong and bloody violence, pervasive language, and brief sexuality.

127 minutes

Brad Pitt as Ladybug

Aaron Taylor-Johnson as Tangerine

Brian Tyree Henry as Lemon

Joey King as The Prince

Zazie Beetz as The Hornet

Bad Bunny as The Wolf

Andrew Koji as Kimura

Michael Shannon as The White Death

Hiroyuki Sanada as The Elder

Sandra Bullock as Maria Beetle

• David Leitch

Writer (based on the book by)

• Kotaro Isaka
• Zak Olkewicz

Cinematographer

• Jonathan Sela
• Elísabet Ronaldsdóttir
• Dominic Lewis

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There are Good Days and Bad But Four of Us Really Work Well Together: Rock Band The Local Train

Curated By : Antara Kashyap

Last Updated: November 15, 2019, 07:51 IST

Indian rock band The Local Train, which rose to fame in 2015 with their debut album Aalas Ka Pedh, talk about fame, its camaraderie and creative process.

The Local Train is an Indian Hindi Rock band originally from Delhi, consisting of Raman Negi on lead vocals and guitar, Ramit Mehra on backing vocals and bass guitar, Paras Thakur on lead guitar and backing vocals and Sahil Sarin on drums and percussions.

Known for singles like Aaoge Tum Kabhi, Choo Lo, Khudi , The Local Train is one of the biggest contemporary Indie bands of the country. Its track Aaoge Tum Kabhi was featured in the award-winning film Angry Indian Goddesses .

The band has performed in ace music festivals like NH7 Weekenders and VH1 Supersonic and will be next performing as one of the opening acts of OnePlus Music Festival featuring Dua Lipa and Katy Perry. 

You have been listed across several articles around the internet as one of the best indie bands of the country. How do you feel when you look back at your journey and the love you’ve received on the way?

We started out as musicians who shared the same love for music and different genres. Our music has always been about experimenting and finding the right way to express ourselves and we tried to create music that we felt like making. We’re glad and grateful to everyone who also was a part of this journey.

Your 2011 track Choo Lo still continues to be one of your best compositions. Do you remember what the creative process was like when you made the song?

That video is a home demo we took out way back in the day. Probably our first YouTube video. Raman wrote the melody and the lyrics, and he was looking to meet other musicians to form a band that wanted to work on original music. That’s where he met Ramit and was introduced to Sahil and Paras along the way. There are many old recordings of Choo Lo that came before the demo you hear on YouTube. And I think we revisited that song again and again even after that before we took out the final version that went on the album Aalas ka Pedh .

The lyrics for your most songs are intense but you all perform them with such softness...

Every song is a different curve. There isn’t a set process for us. These songs are an amalgamation of ideas that we wanted to talk about or that inspired us to write about. We've explored new sounds as well and we’re figuring out different ways to express our emotions through our music. We experimented with stuff we liked and that’s what got us our sound.

How will you define your equation with each other? Do you have clashes or creative differences?

Having four different opinions in the band is an advantage that we’re now aware of. Of course, in hindsight! So, there are good days and bad but the four of us really work well together and have stuck it out together. The band does live together so that comes with its own share of new experiences!

Your recent music video for Gustaakh looks like a strong political statement...

We really liked how Plexus’ creative process was synonymous to what we were looking for Gustaakh . It took us over a year to make the video and hopefully, there will be some behind the scenes footage out soon. Many artists’ in the past have made strong, bold political statements if they wanted to. Every artist has the right to express their thoughts on any issue. And should feel comfortable in voicing their views as they see fit.

How different was it to record Alas Ka Pedh and Vaaqif?

Most of the first album was recorded in Mumbai at Flying Carpet Productions.

Vaaqif was recorded at home. Both times we were learning on the way and we have a long way to go. We grew a lot as musicians and songwriters during our second album as we became more aware of our strengths and weaknesses.

How does the next year look like for your band? Can the fans expect a new album any time soon?

A lot of touring and a lot of live shows! We wanna experiment more on stage now as well and yes, a Third Album is in the works and hopefully, you’ll hear something soon!

What has been your most favourite track to record so far?

We wanted to get the right sounds and we weren’t sure how to, honestly, every single one of them was a frustrating and painful endeavor and we’re glad we got through it. A lot of times we were learning new stuff recording one song and applying that technique to the next one. Now we’re looking forward to recording the new album, we’re not sure how to go about it but we’ve got enough experience doing just that.

How do you feel about performing in the same lineup with international artistes like Katy Perry and Dua Lipa? How are you preparing for this particular concert?

We’re really looking forward to this festival, in particular, it’s our first stadium gig and we are all geared up to give an explosive performance and do our bit to set the tone for the festival. We’re really excited to perform and share the stage with international artistes like Katy Perry and Dua Lipa.

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Movie Review | 'The Taking of Pelham 1 2 3'

Stand Clear of the Closing Doors

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By A.O. Scott

• June 11, 2009

“I left my Rudy Giuliani suit at home,” says the mayor of New York City, brushing off an aide’s plea to use an unfolding crisis as an opportunity to make a show of leadership for the cameras. Played by James Gandolfini with a demeanor more fussy than thuggish, this fictional successor to Mr. Giuliani presides over an identifiably post-Rudy, post-9/11 metropolis, a shiny, busy place ruled by money and ambition and shadowed less by fear of crime than by anxious memories of terrorism and perhaps by an intimation of leaner times ahead.

“The Taking of Pelham 1 2 3,” Tony Scott’s canny, energetic updating of the 1974 mass transit thriller, takes account of how much the character — to say nothing of the characters — of New York has changed since that almost mythic decade of decline and default. Like the original film, adapted from John Godey’s novel, this version, with a script by Brian Helgeland, deals with the brazen, borderline-insane hijacking of a local train on the Lexington Avenue line, but the subway system itself serves as an index of how the city and action-movie technology have evolved over the years.

The real-world Metropolitan Transportation Authority, which gave Mr. Scott and his crew extraordinary access to its trains, tunnels and command centers, may be something of a bureaucratic basket case, but on screen at least, the sleek, graffiti-free cars and the humming high-tech screens of the dispatching headquarters are a far cry from the rickety dishevelment of the old days, when Walter Matthau was a hangdog transit cop playing cat and mouse with a mysterious criminal gang led by a suave and brutal Robert Shaw.

Matthau’s character was called Zachary Garber, and in what seems to be an act of homage, Denzel Washington’s Garber has been given the name Walter. This Garber is a transit authority stalwart who has worked his way up through the ranks from motorman to an executive position, though when we meet him he seems to be on his way back down again, having been demoted to dispatcher, pending an investigation into accusations of bribe taking.

Mr. Washington, perhaps the most effortlessly charismatic American film actor since Paul Newman, is, like Newman, best when his magnetism is dented by failure or tarnished by meanness or sleaze. In this case his quiet, stoical everyman heroism is deepened by the suggestion of a smudge on his character, a sense of moral compromise that both connects him with, and distinguishes him from, the would-be criminal mastermind who becomes his nemesis.

That would be a mysterious fellow named Ryder, played by John Travolta with a wolfish grin, a tattooed neck and a degree of overstatement as calculated and professional as Mr. Washington’s ostentatious display of restraint. The two actors interact mostly via squawk box, cellphone and radio, as Ryder in his purloined subway car issues demands to Garber at his desk. But even at a distance from each other, they conduct a tag-team master class in old-style movie star technique, barreling through every cliché and nugget of corn the script has to offer with verve and conviction. Even when you don’t really believe them, they’re always a lot of fun to watch.

As are the members of a supporting cast assembled to fill out a tableau of plausible if not altogether authentic male New Yorkness. (Sticklers will note that Mr. Washington and Mr. Travolta are both children of the suburbs, the one hailing from Mount Vernon, up in Westchester, the other from Englewood, N.J.). In addition to Mr. Gandolfini, there is John Turturro as an N.Y.P.D. hostage-negotiation specialist, Michael Rispoli as Garber’s stick-in-the-mud supervisor and the indispensable Luis Guzmán as a disgraced motorman who has joined Ryder’s gang.

Women are decidedly marginal in this urban gallery. Garber’s wife (Aunjanue Ellis) answers the phone every now and then back home in Queens, and the girlfriend of a hostage appears by online video chat. But romance and domesticity have never figured very prominently in Mr. Scott’s imagination.

Nor is the dense dramatic loam of actual urban life, the soil from which even a preposterous story like this might plausibly sprout, something Mr. Scott is inclined to dig into. He’s not Sidney Lumet. But he is an exceptionally adept choreographer of visual disorder, a tireless if sometimes exhausting master of rococo action cinema.

Often, as in the rabid revenge thriller “Man on Fire” or the time-travel terrorism whatsit “Déjà Vu,” both starring Mr. Washington, Mr. Scott’s kineticism gets the better of him, and his whirring contraptions spin and splinter when he wants them to swoop and soar. But in “Pelham 1 2 3” the stubborn, earthbound fact of the subways serves as an anchor, constraining his indulgences much as it limits the options of both the criminals and the civic authorities in the movie. The gritty physicality of subway cars and tunnels balances the director’s signature flights into G.P.S. and Google Earth-inspired bird’s-eye moviemaking. Mr. Scott and his cinematographer, Tobias Schliessler, compose a symphony of light and darkness as the action moves from sunlit streets to fluorescent interiors to dank, subterranean spaces.

Some of the above-ground action — in particular some hectic vehicular mayhem — feels a little routine, and a number of potentially intriguing narrative avenues remain unexplored. But tucked inside this efficiently engineered adrenaline-delivery system is a sharp little parable about the city that serves as its backdrop and its borrowed soul. Ryder, like most overachieving movie bad guys, fancies himself a righteous avenger and a philosopher of the deed, but he is really a demonic, hyperbolic incarnation of greed, a symbol of the money culture run amok.

No one is untouched by moral rot: not Garber, a dedicated civil servant tempted to skim a little cream, nor the mayor, mired in lame-duck cynicism after wrecking marriage and career in pursuit of sexual gratification. The heroes and villains are separated not by metaphysical essence but by choices, habits and the durability of a native ethical instinct, embodied in the flawed, diffident Walter Garber, that somehow survives amid all the excess and corruption. The best, truest and most unashamedly sentimental image of New York in “The Taking of Pelham 1 2 3” comes in the film’s final shot of an outer-borough homeowner walking home from the subway after a hard day’s work, having saved the city once again.

“The Taking of Pelham 1 2 3” is rated R (Under 17 requires accompanying parent or adult guardian). It has intense violence and frequent repetition of every true New Yorker’s favorite word.

THE TAKING OF PELHAM 1 2 3

Opens on Friday nationwide.

Directed by Tony Scott; written by Brian Helgeland, based on the novel by John Godey; director of photography, Tobias Schliessler; edited by Chris Lebenzon; music by Harry Gregson-Williams; production designer, Chris Seagers; produced by Todd Black, Mr. Scott, Jason Blumenthal and Steve Tisch; released by Columbia Pictures. Running time: 1 hour 35 minutes.

WITH: Denzel Washington (Walter Garber), John Travolta (Ryder), John Turturro (Camonetti), Luis Guzmán (Phil Ramos), Michael Rispoli (John Johnson), James Gandolfini (Mayor), Frank Wood (Police Commissioner Sterman), John Benjamin Hickey (Deputy Mayor LaSalle), Gary Basaraba (Jerry Pollard) and Ramon Rodriguez (Delgado).

A picture caption on Friday with a film review of “The Taking of Pelham 1 2 3” misidentified the actor shown to the left of John Travolta. He is Gary Basaraba — not Jerry Pollard, the character he plays in the film. Because of an editing error, the review misstated the name of the agency that gave the filmmakers access to New York City subway trains, tunnels and command centers. It is the Metropolitan Transportation Authority, not the Metropolitan Transit Authority.

How we handle corrections

A previous version of this article referred incorrectly to the Metropolitan Transportation Authority as the Metropolitan Transit Authority.

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Local Train

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Fancy watching ' Local Train ' in the comfort of your own home? Hunting down a streaming service to buy, rent, download, or watch the -directed movie via subscription can be a challenge, so we here at Moviefone want to do the heavy lifting. We've listed a number of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Local Train' on each platform when they are available. Now, before we get into all the details of how you can watch 'Local Train' right now, here are some finer points about the flick. Released , 'Local Train' stars The movie has a runtime of about 2 hr 20 min, and received a user score of (out of 100) on TMDb, which assembled reviews from respected users. Want to know what the movie's about? Here's the plot: "The hero is known for his brave acts until one day he gets involved with the villains gang Can the hero save and protect what he loves no matter what comes against him" 'Local Train' is currently available to rent, purchase, or stream via subscription on Sun Nxt .

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In this Local Train film, Atharvaa , played the primary leads.

Local Train is all set to hit theaters on 31 Dec 2024.

The Local Train was directed by Ramanna

Movies like Sapta Sagaradaache Ello Side B , Kerebete , Max and others in a similar vein had the same genre but quite different stories.

The movie Local Train belonged to the Drama, genre.

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Local Train - Official Trailer

Watch the Official Trailer from Kannada movie 'Local Train' starring Darling Krishna, Bajarangi Loki, Meenakshi Dixit, Ester Noronha and Sadu Kokila. 'Local Train' movie is directed by Rudramuni and produced by S. H. Walke. To know more about 'Local Train' trailer watch the video. Check out the latest Kannada trailers, new movie trailers, trending Kannada movie trailers, and more at ETimes - Times of India Entertainment.