[CRITICAL] LAST TRAIN TO BUSAN

Director emeritus from the flourishing industry of cinema of animation from south korea (which is thriving thanks to the sub-supplier that it carries out for large productions, american and japanese), Yeon Sang-ho was noted for the dark and gritty, The King of Pings and The Fake.

LAST TRAIN TO BUSAN is therefore its first appearance at the live-action – complete with a prequel in animation, Seoul Station, which is out in Korea now – a movie called “zombie apocalypse,” which follows the fate of the passengers of a train while the world collapses around them.

While the production of american middle-budget are ringardisées, South Korea seems to be revealed as the last bastion of the pure B-series, which is both fun and clever. Before any substantive analysis, it is necessary to remember one thing : the LAST TRAIN TO BUSAN is a big-eight fast-paced, including the management of the space, reminding us of the greatest thrillers to Die Hard, but also his compatriot Snowpiercer. A universe where we can only move forward or backward, the process of the race unilateral as the basis for narrative and visual film Yeon.

It is sometimes a bit awkward, but the young filmmaker shines by its liveliness and its dynamism. Failing to be scary, LAST TRAIN TO BUSAN is suffocating, vibrant. There are thematic disenchanted that he had already addressed in his first two feature films : a society in crisis where the defects déteignent on the behavior of the protagonists, the victims or the oppressors. After the bullying and religious fanaticism, this time is the turn of capitalism to pass through the mill of Yeon.

We of course think of the ZOMBIE of Romero, where here, too, the drifts of the consumer society were the driving force symbolic of pure action. In a sense, the LAST TRAIN TO BUSAN deals with a subject quite different : the drift of a paradigm that is individualistic and selfish, yet the opposite of the historical values of the company’s Korean. Greed in the face of the share, the self-centeredness in the face of collectivism. This is not necessarily very subtle, but the metaphor is a well-woven into the springs of the plot, involving also in it – a bit like the unforgettable The Host – the spectrum ghostly of the american interference in the land of the morning calm.

“An intense show, readable, clever, modest and yet inventive. “

Its a few faux-pas, there will be nothing : LAST TRAIN TO BUSAN is a huge pleasure, especially after two months of famine quasi-total entertainment film. The blockbusters of summer to US have all failed where the film Yeon will have succeeded fully : deliver an intense show, readable, clever, modest, and yet inventive. Of the B-series of its kind in this it may be the most electric, exhilarating, and tragic. 2016 is definitely a year round flavor kimchi.

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