Train to Busan 2 – A Review

New Line’s upcoming American remake of the South Korean horror film Train to Busan has now received a title and release date. Warner Bros. has announced that the upcoming movie will be called The Last Train to New York and is currently set for release on April 21, 2023. Train to Busan first aired in 2016 and was directed Yeon Sang-ho — who also directed the prequel and sequel to the zombie movie series, with one being an animated feature.

COLLIDER VIDEO OF THE DAY The prequel, Seoul Station, was released soon after Train to Busan. Its story explained more about how the zombie epidemic started and began to rapidly spread across South Korea. The sequel, Peninsula, didn’t have as much success as its two counterparts and did not serve as a direct sequel, only taking place in the same universe.

Image via Pan Media and Entertainment RELATED: ‘Train to Busan’ Director Has Plans for the Next Film in the Franchise The Last Train to New York will follow the same premise and will be directed by Timo Tjahjanto, with Gary Dauberman serving as writer of the film. Notable horror director and writer James Wan is set to produce the project. New Line Cinema, Atomic Monster, and Coin Operated have decided to co-produce the movie together, with Warner Bros. Pictures set as worldwide distributor.

Guillermo del Toro’s ‘Nightmare Alley’ Gets Streaming Release Date on HBO Max Next Month Get ready to enjoy the noir thriller from the comfort of your home. Read Next Share Share Tweet Email

What Is The Name Of Yeon Sang-Ho’S Follow-Up To Train To Busan And Seoul Station?

Yeon Sang-ho’s Train to Busan and Seoul Station follow-up is a cartoonish zombie yarn that falls short of its potential. It can be frustrating to watch a film that doesn’t seem to understand its own strengths; it’s downright maddening to watch three of them. While most of the film is set four years after the fast-acting zombie outbreak seen in the previous installments, the story kicks off with a Z-day prologue that forefronts all of the things this trilogy does best.

All seems well once Jung-seok makes it to the crowded boat, but it only takes one infected passenger for things to go south in a hurry, and just a few minutes later Jung-seok is watching his nephew feast on his sister in agonized slow-motion (echoes of the MV Sewol tragedy are even more pronounced here than they were in “Train to Busan”). When we reconnect with Jung-seok and his widowed brother-in-law (Kim Do-yoon) in the present, they’re scraping by in a Hong Kong that’s afflicted by virulent prejudice against Korean refugees — the phrase “China Virus” comes to mind. As we learn during an inexplicable exposition dump in which some random white guy brings us up to speed while guesting on a late night talk show, North Korea is the only part of the peninsula that hasn’t been overrun by the walking dead (no logical reason is given for this strange quirk of fate, so we’re left to assume that zombies just have a lot of respect for the DMZ — not that this tantalizing bit of world-building is ever the least bit relevant to the story).  Awkwardness aside, this setup is basically the triple Yahtzee of Yeon’s auteurist touch: Flesh-eaters in confined spaces, Hobbesian incivility between strangers, and ultra-violence that walks the line between slapstick and tragedy.

The first big set piece back on Korean soil betrays a few of the more obvious cost-cutting measures — the dreary fuzz of the computer-generated Incheon cityscapes during the nighttime heist is almost as video game-like as the car chase that follows — but the film’s irreverent tone excuses much of its shoddiness. It’s only during the third act that it really starts to feel like Yeon’s pockets aren’t deep enough for what he’s trying to do. Before that, most of the movie is devoted to lame dialogue scenes between kooky characters in cramped ruins who just want to find a way out of this story altogether; Yeon’s take on the genre might be inspired by the horde mentality of “World War Z” and its rotting waves of the undead, but “Peninsula” itself owes more to DIY post-apocalyptic visions like “Escape from New York” and “The Road Warrior.”

The heist angle isn’t as strong a hook as the narrow train cars from the previous movie, but some fun characters show up to buoy the action once Jung-seok’s party is ambushed by the demented remnants of a rogue militia called Unit 631. Our hero is rescued from the attack by two scrappy little girls (Lee Re and Lee Ye-won) who’ve grown up in the wasteland, rock a solid day-glo aesthetic, and think of the zombies and the soldiers as their play toys — their “six years old and already out of fucks to give” attitude is a nice contrast against Jung-seok’s permanent state of panic, and the girls even come with their own kooky grandpa character (Kwon Hae-hyo) to keep the focus on the family. Despite how Jung-seok and his brother-in-law are warned not to “screw up trying to save each other,” “Peninsula” is predictably keen on exploring the flaws of such self-preservation, and how the continued survival of our species is dependent upon our rejection of capitalism, racism, and the rest of the dehumanizing forces that drove us against each other even before the whole world got sick of each other.

But Yeon’s script explores this stuff with the disinterest of a first draft and wastes its unique setting on a paint-by-numbers plot; the preamble might tease a politically-tinged examination of empathy and self-interest, but all of that is tossed aside in favor of internecine squabbles and limp inevitabilities. Did these people even watch “28 Days Later?” Keeping zombies “alive” for sport never ends well!

The redemption arc that Yeon contrives for him hinges on an unforgivably stupid narrative convenience that should have been tweaked long before anyone got to set.

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The Los Angeles Times is committed to reviewing new theatrical film releases during the COVID-19 pandemic . Because moviegoing carries inherent risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials. We will continue to note the various ways readers can see each new film, including drive-in theaters in the Southland and VOD/streaming options when available.

Yet amid all the firefights and car chases and people-munching action, it nails some truths of the genre: Zombies are simple creatures with simple, uh, needs. Most of director Yeon Sang-ho’s slick sci-fi vision is just enough removed from our own pandemic reality to serve as a welcome escape from 2020’s kaleidoscope of horrors. He makes a panicked decision that will come back to haunt him — but not as much as the tragedy that unfolds on their escape boat to Japan, where unknown to the passengers the virus has made its way aboard.

(Well Go USA) Advertisement Four years later, Jung-seok is among a group of expats living in squalor in Hong Kong. What used to be South Korea is now a zombie-infested fallen nation siloed away from the rest of the world, which we learn in a clumsy bit of exposition by glib white Westerners on a talk show. Blamed for the virus, the Koreans endure open xenophobia and discrimination — an eerily prescient parallel to real life in the age of corona.

As it turns out, it’s a terrible idea. Things go south quickly, which is where director Yeon starts to have fun pushing the boundaries of the world of “Busan.” With an army of VFX artists at his disposal and cinematographer Lee Hyung-deok lensing the faux-grimy sets in an artificial sheen, he throws open the doors of his cinematic universe into a new dystopian landscape in which the endless sea of faceless zombies, with their terrifying speed, hunger for flesh and heightened senses, aren’t really the ones to be afraid of.

Long ago abandoned by their own superiors, the soldiers, led by the suicidal-depressive Capt. In the ruins of a former shopping center, the barbaric Sgt. Hwang (Kim Min-jae, center) leads a unit of marauding former soldiers in “Peninsula.” (Well Go Entertainment) Bigger isn’t better, even if some sets, like the zombie-baiting arena built in the ruins of a shopping mall, set the stage for dynamic battle sequences. The young drift queen’s name is Jooni (played by 14-year-old actress Lee Re), and with her precocious little sister Yu-jin (Lee Ye-won), a pint-sized RC car obsessive, she zooms into the picture just in time to steal the movie.

(Well Go Entertainment) The 115-minute runtime rather hangs on the shoulders of movie star Gang, who does his best to convey the torture of a man driven by a vague sense of … guilt?

What Is The Name Of The Sequel To Train To Busan?

‘Train to Busan 2’: Everything to know about the new horror movie Zombie entertainment made a huge comeback in the 2010s thanks to television shows like The Walking Dead and movies such as World War Z. Train to Busan is considered by many to be one of the best recent zombie movies. It received praise from both critics & audiences. In 2020, Peninsula, the sequel to Train to Busan, debuted.

The movie centers around a group of Korean citizens on a train to Busan when a zombie outbreak takes over the train and not only threatens those on the train but all of Korea and the world. On Aug. 7, 2016, the film became the first film of 2016 to break the audience record of over ten million theatergoers. It’s one of the best-reviewed zombie movies as it holds a ninety-four percent critic score on Rotten Tomatoes.

Viewers root for these characters as they try to survive amidst the zombie apocalypse. This sequel is set four years after the original film. It follows a soldier who, along with his team, is sent to retrieve a truck full of money from the wastelands of the Korean peninsula, now surrounded by zombies, rogue militias, and an innocent family caught in the middle.

Kim said it will be a great cinema experience for citizens of India after a long lockdown.

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