“From a short story by genre master (and damn good painter) Clive Barker, The Midnight Meat Train is precisely what it sounds like, only a lot more damn intense, all the damn time. Vinnie Jones plays Mahogany, a silent, huge man in a suit, who rides the subway trains. When it’s just him and one or two other passengers, he takes out his extra bigass silver hammer of mise en scene, and smashes their damn faces in.”
“Lemme tell ya, you’ll be hard-pressed to find any death scenes more vicious and beautifully stylized this side of ’70s Argento. It’s not so much that there’s a lot of gore—and there is—it’s more that that hammer wallops you just as much as the poor saps who get it. Again, Kitamura proves to the world how much ass he kicks, and just how hard he kicks it.”
God, this review is damn short, but I’ve said all I wanna say really. The film sticks with you, despite being mostly a kinetic, visceral affair. The production design and all that jazz are spot on and it’s actually genuinely tense at times. The finale kicks all kinds of ass and it’s got the kind of ending you’ll be thinking about way down the line. The movie doesn’t pull any punches, and more importantly than knowing what it wants to be, it is precisely what it wants to be. The Midnight Meat Train is a success, because it’s only trying to be The Midnight Meat Train, and that’s what it is in spades. Good show, Ryûhei.
We would’ve loved to have put some quotes into the Vinnie Jones Wake Up Call iPhone application but from what it sounds like we would’ve just had the sound of a hammer smashing heads on the tube in London
Happy New Year!