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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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Film credits.

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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Kaushik Biswas 5481 560 days ago

A complete entertainment package, a very good action and comedy film, Salute to Brad Pitt for his excellent comic timing and action, I hard that 90% of action stunts he did himself. A fairy tell type and full of entertainment. I enjoy this movie so much, First half is little slow although, this is a excellent movie.

Rahul H 80865 592 days ago

one time watch

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The bullet train from Tokyo to Kyoto takes about two hours and 15 minutes — just the right amount of time to pull off a cartoonishly over-the-top action movie, in which half a dozen assassins shoot, stab and otherwise perforate each other’s pretty little faces in pursuit of a briefcase stuffed with cash. It’s a high-stakes game of hot potato, choreographed and executed by “Atomic Blonde” director David Leitch , in which a self-deprecating Brat Pitt wears a bucket hat and oversize specs, Brian Tyree Henry and Aaron Taylor-Johnson play bickering “twin” hit men Lemon and Tangerine, and “The Princess” wedding crasher Joey King (known here as the Prince) is a cunning killer who can fake-cry on command.

These quirky characters — and a handful of others, with names like the Hornet (Zazie Beetz) and the Wolf (Benito A Martínez Ocasio, aka Bad Bunny) — are identified by giant on-screen labels superimposed over their flash-frozen mugs, the way Martin Scorsese or Guy Ritchie sometimes intro their ensembles. “Bullet Train” feels like it comes from the same brain as “Snatch,” wearing its pop style on its sleeve — a “Kill Bill”-level mix of martial arts, manga and gabby hit-man-movie influences, minus the vision or wit that implies.

Adapting the pulp Kotaro Isaka novel “MariaBeetle” for a mostly Western cast, Leitch and screenwriter Zak Olkewicz make each of these characters twice as eccentric as necessary, lest audiences’ attention wane for an instant. Maria (as voiced by Sandra Bullock) is the bug in Pitt’s ear, guiding the newly nonviolent tough guy (this anger management joke recently featured in “The Hitman’s Bodyguard” as well) through what’s supposed to be the cinchiest job of his career: Board the bullet train in Tokyo, grab the MacGuffin and step off at the next stop. Cha-ching goes the choo-choo. Except Ladybug (as Pitt’s character is dubbed) is hella unlucky, and there appear to be more murderers crammed together here than Agatha Christie could fit on the Orient Express.

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Meanwhile, innocent bystanders are at a minimum. There’s a busybody woman who keeps shushing Ladybug and Lemon when their fistfighting gets too disruptive, but after a few stops, practically the only passengers who remain aboard are ones who would kill for that briefcase. There’s also an incredibly poisonous boomslang snake, whose venom takes effect in 30 seconds, making victims bleed from their eyes, like poor Logan Lerman (the first character to bite it, serving out the rest of the film in floppy-corpsed “Weekend at Bernie’s” mode).

The movie’s strategy is to keep throwing deadly obstacles at Pitt’s character, who gets his hands on the bulletproof Tumi fairly easily early on. Ladybug’s remarkably good at improvising his way out of trouble — even when the movie literally goes off the rails at the end. Setting all this mayhem on a train wasn’t Leitch’s idea, though the stuntman-turned-director makes the most of that limitation, staging visually interesting set-pieces in different cars. Ladybug and the Wolf have a knife fight in the bar area. Later, he and Tangerine smash up the kitchen. There’s some funny stuff that happens in a neon-lit segment of the train involving the mascot for a local kids’ show, who keeps getting punched in the face. Even the lavatories are fair game.

The fight scenes feel relatively original, which is impressive unto itself, considering how many other creative filmmakers are trying to distinguish themselves in the genre. Leitch tends to approach these standoffs the way Gene Kelly and Fred Astaire once did their dance numbers: The violence needn’t be taken literally (which is tough at times, considering how brutal the bloodshed can be), but rather appreciated mostly for their choreography and capacity to surprise.

Still, there’s something callous about how casually Leitch takes human life. “Bullet Train” reps one of the first and most ambitious pandemic-made blockbusters to be released, demonstrating that Leitch and company felt confident enough the world would go back to normal that they could have the Prince push a 6-year-old off a roof just to lure the kid’s father (Andrew Koji, by far the film’s weakest link) onto the train. King’s character is a real piece of work, wearing a black bob and pink schoolgirl-style getup. She’s a heartless manipulator, frequently posing as an innocent victim to ensnare her prey.

Eventually, “Bullet Train” reveals that behind this in-no-way-coincidental roundup of assassins was an elaborate plan by fearsome underworld boss the White Death (Michael Shannon) to avenge the death of his wife. But he’s not the only one who lost a loved one, as Hiroyuki Sanada’s samurai-like the Elder demonstrates when he boards a stop or two before Kyoto.

The geographical logic of “Bullet Train” doesn’t make much sense, but then, the movie looks as like was produced without the principals so much as stepping foot in Japan. And why not? It’s essentially a live-action cartoon, with high-profile cameos sprinkled in for added laughs. Stylistically, Leitch is trying his darnedest to channel the likes of Tarantino and Ritchie, even if the dialogue and mock-British accents aren’t nearly strong enough to earn such comparisons.

Tangerine and Lemon are likable characters, though the latter is constantly going on about how everything he learned about people comes from “Thomas the Tank Engine” (which explains a lot about how reductive the movie’s understanding of human nature is). Similarly, Ladybug is always quoting trite self-help aphorisms, which invariably get a laugh. This may be a fun enough ride, but such punchlines drive home that neither the characters nor the film they inhabit are particularly deep. Quite the opposite, in fact. As Calvin and Hobbes so aptly put it, their train of thought is still boarding at the station.

Reviewed at Regency Village Theater, Los Angeles, Aug. 1, 2022. MPA Rating: R. Running time: 126 MIN.

• Production: A Sony release of a Columbia Pictures presentation of an 87North production. Producers: Kelly McCormick, David Leitch, Antoine Fuqua. Executive producers: Brent O’Connor, Ryosuke Saegusa, Yuma Terada, Kat Samick.
• Crew: Director: David Leitch. Screenplay: Zak Olkewicz, based upon the book “Maria Beetle” by Kotaro Isaka. Camera: Jonathan Sela. Editor: Elísabet Ronaldsdóttir. Music: Dominic Lewis.
• With: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Benito A Martínez Ocasio, Sandra Bullock, Zazie Beetz.

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Bullet Train Reviews

Bullet Train’s driving engine quickly loses steam. Its runtime is never justified, especially when it chooses to prioritize odd tangents over cogent and streamlined storytelling.

Full Review | Nov 2, 2023

Bullet Train is bombastic and silly, but it rarely pretends to be anything else. Is it a great movie? No, not by any stretch. Is it a fun movie? Yes, but like the rails, the bullet train goes off, mileage really may vary.

Full Review | Sep 17, 2023

And let's just say with all these stunts, gore and adrenaline-inducing sequences, it is hard to be bored.

Full Review | Original Score: 4/5 | Aug 18, 2023

As it poorly emulates Tarantino and Guy Ritchie, the action picture ends up as a cartoonish mess and exhausting watch more than an entertaining popcorn flick.

Full Review | Original Score: C- | Jul 29, 2023

Bullet Train employs David Leitch's maximalist style in a purposefully silly narrative driven by frenetic action and distinct humor. Every second with Aaron Taylor-Johnson and Brian Tyree Henry is genuinely hilarious.

Full Review | Original Score: B | Jul 25, 2023

AWESOME. The last big ride for the summer that brought back the movie theater experience for so many people & what a film to end on. Widely entertaining from top to bottom that constantly gives you laughs, action, & insanity.

Full Review | Jul 25, 2023

Bullet Train is turbulent and chaotic but a thrilling ride nonetheless. Its illogical, blood-soaked premise may derail some, but others might find charm in its memorable cameos, wild hairstyles, and magnetic characters.

Watching Brad Pitt completely flanderize into a human golden retriever who only recites self-help sayings for 2 hours and 6 minutes was insufferable.

Bullet Train isn’t going anywhere fast. It’s self-indulgent and thinks it’s doing something entirely unique. The film gives itself far more credit than it deserves.

Full Review | Jul 24, 2023

I used “annoyingly fun” to describe Bullet Train because I don’t know what other oxymoron can best capture the delirium that transpired in its two-hour runtime.

Full Review | Original Score: 2.5/5 | Jul 21, 2023

It’s a waste of an interesting premise, it drags after the first act, continues to hit new levels of monotony, and, ironically, never picks up the pace.

Full Review | Original Score: 1/5 | Jul 20, 2023

Bullet Train is a mixed bag, worth seeing for action fans, but maybe at a matinee screening or when it hits VOD. There’s a tighter and better 100-minute movie in that 126-minute high-energy extravaganza...

Full Review | Original Score: C+ | May 3, 2023

With an A-list cast happily playing against type, a nonlinear storytelling approach, witty dialogue and a plethora of creative violence, Bullet Train plays out like an immensely satisfying upgrade of prime Tarantino.

Full Review | Original Score: 9.5/10 | Jan 1, 2023

A blast... The film works because Brad Pitt is a really funny and engaging guy.

Full Review | Original Score: A | Dec 16, 2022

Leitch helms his action with clarity and impact, creating a beautifully nonsensical thrill ride that could have been a trainwreck, but entertains to the end of the line.

Full Review | Original Score: 8/10 | Nov 30, 2022

If Kill Bill: Vol. 1 is wagyu steak, this is a juicy dive burger.

Full Review | Nov 30, 2022

Strangely, this murder at 320kms per hour action comedy may be an embarrassment of riches in the talent department, but the execution leaves one exhausted by the trip, impatient to find their stop.

Full Review | Original Score: 3/5 | Oct 25, 2022

Without ebbs or flows to modulate the viewing experience and a never-ending barrage of increasingly ridiculous action (fun at first; exhausting by the end), Bullet Train proves that sometimes “more” is actually too much.

Like the titular mode of transportation, it does pick up speed as it barrels along.

Full Review | Original Score: 2.5/4 | Oct 23, 2022

Brad Pitt's comedic chops are what saves an otherwise exhausting Bullet Train. It is Pitt's incredible comedic deliveries and charisma that carry the film. He proves that, even with a poor script, he has the talent to keep the film on track.

Full Review | Oct 19, 2022

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Bullet Train

Bullet Train: Release Date, Trailer, Songs, Cast

• Release Date in US 5 August 2022
• Release Date in India 4 August 2022
• Language English, Japanese, Spanish
• Dubbed In Hindi, Tamil, Telugu
• Genre Action, Mystery, Thriller
• Duration 2h 8min
• Cast Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Benito A Martínez Ocasio, Sandra Bullock, Zazie Beetz, Logan Lerman, Karen Fukuhara, Masi Oka, Pasha D. Lychnikoff, Miraj Grbić
• Director David Leitch
• Writer Zak Olkewicz
• Cinematography Jonathan Sela
• Music Dominic Lewis
• Producer Kelly McCormick, David Leitch, Antoine Fuqua
• Production Columbia Pictures, Fuqua Films, 87North Productions
• Certificate A

About Bullet Train Movie (2022)

Bullet Train Movie Cast, Release Date, Trailer, Songs and Ratings

Bullet Train Review

Bullet Train, as the name says, is set on the eponymous Japanese hyper-speed rail network, formally known as the Shinkansen. For a movie, that delivers two things: unmatched (narrative) momentum, and a confined space that forces its characters inside a box. But annoyingly, in what's partially a trait borrowed from the 2010 Kōtarō Isaka novel that it's based on, Bullet Train keeps pumping the brakes — literally and metaphorically. The former happens as the Tokaido Shinkansen makes one-minute stops on its journey. Rather than simply use these as gateways to introduce new elements (which it does just once), these stops mostly derail the movie. As for the latter, Bullet Train — out August 4 in India — regularly pauses itself to dump exposition or clue us in on relevant backstory (also exposition).

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Bullet Train

Five assassins aboard a swiftly-moving bullet train find out that their missions have something in common. Five assassins aboard a swiftly-moving bullet train find out that their missions have something in common. Five assassins aboard a swiftly-moving bullet train find out that their missions have something in common.

• David Leitch
• Zak Olkewicz
• Kôtarô Isaka
• Aaron Taylor-Johnson
• 1.7K User reviews
• 323 Critic reviews
• 49 Metascore
• 2 wins & 18 nominations

• White Death

• (as Benito A Martínez Ocasio)

• Kayda Izumi Concession Girl
• Tokyo Zookeeper

• Asami Akiyama

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Brad Pitt did 95% of his own stunts in this film according to stunt coordinator Greg Rementer .
• Goofs The Yakuza are routinely depicted as being armed with, and using, guns. In reality, the Yakuza, and other Japanese criminals, almost never use guns (Japan averages fewer than ten gun homicides nationwide in most years). The incredibly strict gun laws in Japan mean that it's just not worth it for even professional criminals like the Yakuza to use firearms. Even possessing an illegal gun, without a link to any other crime, can lead to a hefty prison sentence.

Lemon : Who the fuck are you?

Ladybug : Really? You don't remember me?

Lemon : You look like every white homeless man I've ever seen.

• Crazy credits SPOILER: There is a scene in the closing credits: Lemon survives his fall into the lake, and it is revealed that he hijacked and drove the truck that ran over Prince.
• Connections Featured in Projector: Bullet Train (2022)
• Soundtracks Stayin' Alive Written by Barry Gibb , Robin Gibb and Maurice Gibb Produced by Dominic Lewis and Daniel Pinder (as Dan Pinder) Performed by Avu-chan (as Avu-chan (Queen Bee)) Avu-chan (Queen Bee) appears courtesy of Sony Music Labels Inc.

User reviews 1.7K

• Aug 3, 2022
• How long is Bullet Train? Powered by Alexa
• The original novel has been published for years. Why can't the movie reveal the actors' roles? Is it necessary to keep it a secret who will play which role?
• August 5, 2022 (United States)
• United States
• Official Site (Japan)
• Sát Thủ Đối Đầu
• Tokyo, Japan (There is no reference in end crawl credits for filming in Japan. All shots attributing scenes are sets, stock file or created images.)
• Hill District Media
• See more company credits at IMDbPro
• $85,900,000 (estimated)
• $103,368,602
• $30,030,156
• Aug 7, 2022
• $239,268,602

Technical specs

• Runtime 2 hours 7 minutes
• Dolby Atmos
• IMAX 6-Track

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Bullet Train Movie Review: Slick And Stylish But Tedious Brad Pitt Film

The novel 'Maria Beetle' by Kotaro Isaka that this movie is based on, follows several hitmen aboard a Tohoku aka Bullet Train, crashing and burning against each other, spilling blood, guts, and gore along the way, in their attempt to get to the briefcase loaded with cash and gold biscuits. David Leitch's Brad Pitt starrer follows the same trajectory in super earnest but the sense of fun is not all-enveloping.

Doesn't seem like the makers bargained for very many others on board the super-fast train so it's basically easy season for the adversarial assassins. They take their time carousing through the compartments, sharing inanities and indulging in slick, speedy action and kills but the coveted briefcase keeps shifting hands.

Ladybug (Brad Pitt) a returning-from-a-break assassin, without a weapon other than his dry but blunt and unseasoned wit, trying to reinvent himself after a tryst with peace, has the onerous task of engaging with a train load full of killers.

His mission to retrieve the sought-after briefcase is fraught with a minefield of difficulties - but it's not only the super-sharp weaponry or killer skills he has to worry about. Wading through depressed lags in runtime are some really stupid derailments into unpalatable banter that keep coming in between action stunts, thus butchering the momentum.

Leitch, who has worked with Pitt earlier (also as his stunt double in films like Fight Club, Ocean's Eleven, Troy, and Mr. & Mrs. Smith) appears to share an easy-going camaraderie with the Hollywood Superstar and it shows up on the screen. Pitt's impressive presence and easy performance allow for some fluidity in a narrative based on a screenplay riddled with doubt and confusion.

This film was initially developed by Antoine Fuqua as an all-out violent action thriller but a proprietorial change of hands decided on a light-hearted action comedy style that doesn't appear to have been developed well enough to score sustainable wins with an audience.

The narrative strategy to keep throwing deadly obstacles at Ladybug, who appears to be remarkably good at improvising his way out of trouble - doesn't seem to be enough to keep the audience in their seats.

The mayhem aboard the superfast train isn't logically possible and the visual effects aren't all that convincing either, even though it's all gloss and glass.

There's a surfeit of brutality and gore on display here but despite the super-slick veneer and pop-music serenades in the background, there's very little take-home. Save for brief moments of levity, much of the comedy falls flat.

This is the kind of Hollywood action movie that's mindless, a cross-cultural mishmash, largely formulaic (Quentin Tarantino and Guy Ritchie's films appear to be an inspiration), and even the stars from across continents aren't able to invoke an affection that could transcend cultures and borders.

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