Train to Busan Presents: Peninsula (2020)

t2bpI fondly remember Train to Busan, it was Die Hard on a Train (with Zombies!), and there was a point early on in this film, in what turned out to be a prologue before the main plot proper, when I thought that this film was going to be Die Hard on a Boat (with Zombies!). I figured that zombies would get loose on the big boat of refugees sailing to freedom and that, trapped on the ocean for three or four days in its race to salvation, it would be a claustrophobic thriller with lots of story breaks/crises (the engines are on fire! We’ve sprung a leak! Zombies in the Lifeboats! etc). In hindsight that might have been construed, possibly rightly so, as a lazy sequel, a very minor twist on established formula as most sequels are. Maybe the film-makers for Train to Busan Presents: Peninsula should be praised for trying something different, for upping the scale and having some ambition – essentially what they have done here is a similar trick to what James Cameron did with Aliens following Ridley Scott’s claustrophobic, more intimate original. Unfortunately though its possibly too much of a departure, because this film has lost most of what made the original so great.

I suppose this is the danger of coming into a film blind having no idea what to expect other than, er, lots of blood and zombies. I just didn’t expect it to be quite so much of a departure from the first film, especially when all of the changes leaves the finished production such a crushing disappointment.

So its not Die Hard on Another Train or Die Hard On A Boat; indeed its not Die Hard at all. This is more Escape From (a Zombie-Infested) New York/a (Zombie) Road Warrior/Fury Road and on that level, of some bizarre self-indulgent genre mash-up, its almost fun. Diminish your expectations and settle for a low-rent John Carpenter-inspired flick and I guess its really quite enjoyable. Well, it would be if it didn’t feel quite so much like watching someone playing a videogame. There is so much CGI in this film, particularly in the Mad Max-inspired chase through a zombie-infested city, that it rather degenerates into a cartoon; Final Fantasy: The Zombies Within maybe. The night before I watched Baby Driver and thrilled to its real-life car chases and stunts, which really put the woeful CGI here into sharp relief and all the worse for that comparison.

Maybe its the sheer scale of the thing, having so much CGI (at some points it looks like a Sin City-style greenscreen movie) and thus the sheer number of shots forcing the quality of it all downwards – it happens all the time, you’d think film producers would have figured by now that Less is More. The best films heavily reliant on CGI effects struggle to maintain credibility, here its quite beyond them, the physics and weight of most of the vehicle shots quickly degenerating into videogame nonsense and the CGI zombie hordes soon quite boring rather than anything threatening. Its a shame; if they’d just left it as an Escape From New York-inspired heist film trying to rob a bank in a zombie-infested/criminal militia-run city, a kind of Apocalypse Now journey into zombie heart of darkness, it could have been intense, thrilling, scary.

This film is everything but scary. Maybe that was largely true of the original, too but that film at least had thrills and tension. Instead this has a crazy grandpa, blubbing kids, a morose wooden hero… and lots of shades of other, better movies. Not a terrible movie but not far from it really: biggest sin of all is how much it looks like one of those FAQ/Walkthoughs of videogames one sees on YouTube. Movies should be more than that.

One thought on “Train to Busan Presents: Peninsula (2020)

  1. Pingback: The 2021 List: May – the ghost of 82

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