One of The Most Sound Inspections Inside Horror Sub-Genre

Rating: 6/10 (22 January 2017)

Current walkers' genre arises from horror/survival films chiefly, which located its golden years at the end of the 1960s, where the sub- genre genesis was cemented with a brand new and unique solvency, the same one that slaughters the audience as genuine vultures without any substance. Although there's not an accurate date about when it was considered preeminent in the celluloid world, but we do know the three men who reflected heterogeneity and universal depth that an undead horde may originate. The first man was who took the chance to emit an uncommon conception at that time, where demise was not the conclusion in the lifeline, but one cycle more for transfiguring itself into testimonial detriment. George A. Romero, he was who opened the pathway with a must-see crowning work, essential for anyone who is adept to the heterodox category. A few years later, Danny Boyle built a task titivated with ingredients with which we were already getting familiar, however, they were endowed its work with collective and psychological idiosyncrasy; the above made us apprehended the same nature viewed from an opposed and eccentric perspective. And finally, three years ago moderately, Marc Forster propelled zombie theme to extremist and utter crippling visual dimensions —it's so like Hollywood, — nevertheless, he also managed to impregnate it a relevant dramatic connotation. It is, in fact, a shame that among hundreds of projects which are both crowded together on the small screen as on the big screen, only these three cases truly get to be more than an ephemeral film; a film with justifications, rudiments, soul and laconic structure.
Yeon Sang-ho's "Train to Busan" or "Busanhaeng" (original title), glorified formidably by key contests in the issue, exposes and pours strategically concerning and globally significant thesis into a top- level artistic and choreographic majesty, nonetheless, the movie expressed neither something substantially divergent nor fresh in cinematic terms, what categorizes it as an entertaining, effective and somewhat nugatory film. Cannes and Sitges opened the doors to the director, newcomer in live-action movies—since his previous works have been clearly animated, among them is the initial part of this story, "Seoul Station", screened at BIFFF, serves as outbreak and exordium within this atmosphere, — to testify his assiduity and supremacy in this classification; These festivals intensified significantly commercial splendor through Word-of-mouth marketing (WOMM) around the film, drawing more than 11 million in attendance just in Korea.
In essence, the storyline takes place inside of a train which departs from Seoul; place in where an opportunist and self-centered father is constricted by his daughter to buy two tickets for a prolonged travel in the carriages; she longs vehemently for visiting her mother in Busan, South Korea's second most-populous city and in where this public transport has delimited its arrival.The quandary is that in the morning, an abnormal virulence, stirred up by main character's biochemical corporation, charges against Korean residents of an intense and enraged way, originating a hair-raising maelstrom territorial.While they thought that in comfort of their train indemnity was infallible, one infected sneaks in the rear coach inducing an out-of-control derangement; the only hope for passengers is to arrive as soon as possible to Busan, site where a hypothetical military shelter sits, however, the walkers are not the worst catastrophe, human begins' apocalypse and corruption is it.
The film is closely influenced by two antithesis managed of clever way at least mostly: in the first place, narrative proposal is fully foreign along with comic and western popular culture references; and in the second place, characters are significantly oriental, which connect with other factors correctly, among them stand out superb mise-en-scène—which no longer has any reason to "envy" American cinematic mecca, —an impetuous soundtrack supplying exuberance, a relevant dramatic talent and a final act that derails its film and plot ambitions beyond its own limits, to a certain point.
The huge and mundane obstacle is it adjusts and stretches on genre clichés, providing entertainment without offering something little know, equally, the slow-pace beginning and over-the-top sensitive moments reduce the fantastic results from the first 45 minutes.
Once again, it argues unexplored—or at least, unseen— aptitude of oriental cinema. "Train to Busan" is a well-made rail travel with zombie thematic which subverts in its narrative threads individualism, disparate social conditions, selfishness and lack of concern for the welfare of the other, issues punching our contemporary society every morning. "Busanhaeng" represents all what a roamer film lover aspires to see, however, manipulates the used components with one different hand, creating a splendid visual beauty to generate such feeling. Refreshing, captivating and even entertaining; the film is as frantic and direct as the same train.