There are some clearly-defined factors that kill an otherwise perfectly delightful horror film. Cheesy computer graphics. Terrible child actors. And subtitles—or so I thought, until I saw Train to Busan. Director Yeon Sang-Ho makes his live-action debut in this knock-down drag-out thriller, this cliché-driller, this horror movie hiatus-filler of a zombie film. And boy, does he nail it.
In Train to Busan, we ease into the story of an investment fund manager struggling to understand how to be a good dad to daughter Soo-an in the wake of a separation from his wife. His attempts fail as he merely parrots what he believes a truly good father would do. But on the eve of Soo-an’s birthday, he pledges to give her the only
thing she begs for—to be with her mother on her special day. They embark early the next morning for what was to be a brief one-hour train ride. But just before the doors close, someone slips onto the train undetected, and seems to be struggling to stand, breathe, and of course, avoid devouring live human flesh. One bite leads to the next, and soon the train is crawling with those snarling
, frosty-eyed, blue-veined leg-draggers we horror fans can never seem to get enough of.
I’ll pause here to say that zombie films aren’t traditionally my favorite brand of horror. I generally enjoy them for the same reason I enjoy any good action film—for the suspense, the edge-of-your-seat thrills, and the dynamite special effects. But the truly exceptional zombie films are rare—the Dawn of the Deads (2004 remake), the Night of the Living Deads (original, of course), and the 28 Days Laters—these films deliver on the suspense and effects, but also transcend action film mimicry by delving to depth
s of true horror.
I’m not talking horror like creepy-small-ghost-child-hiding-under-your-bed horror. I’m talking the kind of terror that makes us wonder what our next-door neighbor might be capable of, even when not infected with a flesh-craving virus. Some people say that if you really want to reveal someone’s true self, hang out with them when they’ve have one too many, or watch them interact with their mother. Well I say throw them a zombie apocalypse and see how they manage.
Yeon tackles this concept masterfully. As the passengers figure out 
how to successfully barricade the train doors, we learn their backstories: a beefy, punch-throwing, body-slamming dude with a soft spot for his pregnant wife, an inseparable pair of elderly sisters catching up on old times, a conductor just trying to do the right thing, a team of teen-pop athletes and their girlfriends, and a greedy businessman only out for himself.
Yeon keeps the plot—and the train—moving as the passengers learn about the chaos erupting in each city along the tracks, and we find ourselves rooting for them as they struggle to find a safe place to disembark. But he also divinely builds the suspense in novel ways, as the passengers learn the zombies’ strengths and weaknesses. Full of all the near-misses, hushed “don’t make a sound” moments, and inevitable character losses that make up any excellent zombie film, Train to Busan also travels to the depths of each character to examine what behavior the human race truly rewards when all rules are out the window. The film even gifts us with a few satisfying scenes in which karma, delightfully, really is a bitch.
The film has its faults, but they are few, and this Korean film novice dare not dock points for what may be cultural differences in approaches to filmmaking. Nevertheless, a handful of scenes are either a bit too heavy on the skillful hand-to-hand combat, a bit too forgetful when it comes to logical character motivation, or a bit too over-dramatized for my taste (like enjoying a musical from the front row, when you know you’re watching fac
ial expressions intended for the balcony). Plus, I couldn’t help but notice that almost every single heroic character is male, usually saving at least one vulnerable female character at a time. The one exception there may be little Soo-an herself, played by Kim Soo-Ahn, who embodies the conscience of the film and perhaps even the human condition itself. Quite a tall order for a tyke, but she delivers splendidly, and has an obviously bright future on the silver screen.
Underlying misogyny and overacting aside, this film is a wild ride. Yeon draws on classic clichés to deliver comfortably what we crave in a good zombie film, but changes it up with novel settings and creative camera angles just when we think we know what to expect.
SpecialK Verdict: Even the subtitles can’t distract from this master class in zombie horror cinema. Rent it at home and spend a night by the Christmas tree soaking up a full two hours of outstanding entertainment.
Train to Busan was released On Demand on December 13.
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