Even in her most fictional films, those participating in her fans can think about what may happen if their circumstances occur in real life. Often, the question is simple as what may happen “actually” or how an individual’s reaction will be if it is presented with a larger position. But after watching the local, national forces, or even all over the world, it responds to the state of emergency or the accident, it becomes easy – even normal – comparing this effort with what the characters do in the movie when they jump to work.
In this regard, the “leading train explosion” meets the almost unparalleled credibility. Like his previous movie “Shin Godzilla”, she explores the follow -up of the 1975 Japanese movie “The Bullet Train” in accurate and realistic details, which may be a bureaucratic response, well, a scenario that is likely to happen in films. Even without a movie star fighting on his way up and down on the corridor (à la “or” Kill “), Highuchi guarantees that this scenario is not less exciting, and depends on more calm but does not affect the championships in addition to a series of mounting pieces that will feel the fans until the last story reaches the end of the line.
After the opening credits that play like a buzz of the film, “Bullet Train Explosion” begins at a station where the Hayabusa no. 60 binding to Tokyo. Despite the motivation to give the romantic character to his job as a leader, Kazoy Takaychi (Tsuchi Kosanagi) reduces its importance to school passengers more interested in their classmates and its portable apparatus is more than the category and travel of high -speed railways. A young Takaychi is keen on his footsteps, but he distracts him more easily by passengers like Mitsuoro Todotoki (John Caneam), a businessman and social media, and Yoko Kagami (automatic mechanism), a politician who tries to try to wander.
Soon after leaving the train, the Japan Railway Office Yuichi Kasaji (Takumi Cito) receives a noticeable caller claiming that the bomb was planted in Hayaposa No. 60, and it will explode if the train is less than 100 km/h, which is less than half of the typical management. Kasagi Consors is his team and racing to work, Takaichi and train crew to keep the passengers, and if possible, they coordinate the rescue efforts. But when the perpetrator announces his plan on social media and asks a ransom of 100 billion yen in order to prevent the bombing of the bomb, government officials not only participate, but also participate in the passengers of Hayabosa, and they work together to find an endless decision in death and destruction on a large scale.
As all films in the “Godzilla” concession focus on humanity’s plan to deter the permitted creature from Japan’s position to waste, “Shin Godzilla” is installed on the infrastructure of local and national emergencies in a way that made it feel uniquely touching (even with Ghadzella, who sometimes had model eyes). “The Pullet Train Break”, almost of its comic title, follows the same approach with a more concept logic and converted into a convincing image if there is a slightly ideal image of personal efforts, companies and legislative work in working with each other in Lockste.
Tsuiushi Kosanagi also played, Takaichi is the ideal novel for the treatment of Shinji Higucci for this exciting idea: he is mastered and becomes flat, and his classic concepts of increased professionalism and humanity until it becomes a step in the continuous response to the belts. It follows the rest of the descriptions, and takes the text written by Kazuhiro Nakagawa and Norachika ōBA. These individual details have also become a comprehensive topic with the progress of the story, and highlights the deeper truth that there is no one, regardless of their actions, cannot be fixed, perhaps even if the person who planted a bomb on the train.
If the hypothesis appears like “Speed”, it is because its predecessor was one of the inspiration for the 1994 Jan De Bont. Ken Takakura and Sonny Chiba feature Limited). In the context of connecting the two films, the “explosion” provides a summary of “archive clips” using clips of the original, but the cinematic heritage to which he belongs is more powerful is Junya Less than “Apollo 13”, where the allocated people show, where they put on their heads together. When a new personality is disrupted by the measured and methodological process to treat the fleeing train – whether it is an initial government official or a shameful pilot that is recognized between the train passengers – they are already breaking the film talisman.
However, the film tends to the rules of “legacy sequences” in the modern era where the sins of one generation flow to the next, and eventually reach a plan and motivation, because the bomber is completely meaningless. But the film industry is clean and elegant, and all new wrinkles are chronicled with speed and geographical clarity that maintains real tension. According to what was reported, Higucci had access to the trains and real equipment to organize many of his scenes – a kind of cooperation that talks about the sensitivity of his imaginary treatment of train employees and government operations – and the public feels a steady sense of expression and physical reality as he avoids train races through the station that ripens with the two groups with narrow groups.
For multiple generations of fans that have been overlooked against the first film, Higucci’s follow -up to follow up to devise the same excitement. But the “lead train explosion” seems to be an impressive group of adults-or let’s say, not for the audience of less famous manifestations-where the priority is to throw challenges and complications on smart characters instead of provoking conflict with cheap narrative shortcuts and bad options. Of course, the idea that bureaucracy can work effectively as Japan does here for many ideas more fictional than foreign invasion or supernatural confrontation. But in emphasizing intelligence, cooperation, and semi -terrestrial reality, Higucci emphasizes the fact that even when he is committed to traditional wisdom, there are some beliefs, it is not necessary for directors to comment.