Now this is a bit of a curiosity. There's a soft haze to the image that gives the appearance of how dreams or flashbacks are classically depicted in film or TV - a quality that also confers a measure of artificiality. Characters, and the precise nature of central elements of the plot, are left similarly hazy; we are given minimal meaningful information on who these people are, or what their motivations or values are; the movie takes its time to in any way inform what exactly has them in such a tizzy. The roles almost feel like empty vessels, waiting to be filled as the director or cast wills. Alongside the unmistakable CGI that shows us exterior shots of the train or outdoor environment - flourishes to cement the setting, and add an odd sense of urgency - the end result of all this is that to an extent 'Night train' feels like a stage play that, unable to find a manageable budget or agreeable producer, got turned into a movie instead. With a core focus on three characters, and others only irregularly present, I could easily imagine only a few necessary alterations for this story to play out on a stage with scant set pieces, allowing the personalities of the chief trio to manifest over time as the director and cast collaborate to make the tableau unexpectedly charged and vibrant. It's presented as a mystery thriller, and that's certainly the space it plays in, but for as tightly as the story is structured around three figures with others appearing as the tale requires, 'Night train' also pointedly comes across as a distinctly fraught and violent character-driven drama.
To be honest I was skeptical as the picture began; much of what first greets our vision is initially off-putting, not least of all for lack of context or immediate clarity. While the film definitely turns a corner, those exterior shots of the train remain a tad unnecessary; Henning Lohner's broadly excellent, electrifying score feels slightly out of place. Something about the production seems almost imperceptibly "off" as the constituent parts resonate so strongly that in their excited quiver their hard edges kind of butt against one another instead of wholly meshing, and the climax feels slightly drawn out such that its resolution, and the ending, are relatively speaking a smidgen inelegantly rushed.
Yet all those subjective shortcomings are ultimately minor, and pale in comparison to the strength herein. For all the vagueness that initially defines the characters and narrative, like fuzzy grey blobs, these gradually crystalize into pitch black daggers. Filmmaker Brian King has penned an original story that trades in discrete details of time, place, or person in exchange for fierce personalities and a compelling, increasingly thrilling narrative that could easily be adapted to any setting. On the surface 'Night train' is all it needs to be as a surprisingly dark mystery thriller, but vivid themes shine through of greed, deceit, selfishness, and aggressive opportunism detached from morality - a stark if underhanded commentary on capitalism (note how the characters react to the MacGuffin, and how they perceive it). And as if this weren't enough, King rounds out his screenplay with outstanding scene writing, rife with an unexpectedly harsh, invigorating tone, that locks us in to see what happens next.
Finally, if King's writing is one aspect of the picture to stand out especially tall, then the other is the cast. The small supporting cast give fine performances with the time they're given, including Richard O'Brien (!), and Geoff Bell. Above all, of course, it's the principal three who genuinely impress. For all the dopey roles Steve Zahn has taken on at one time or another, he has some serious acting background, and here demonstrates the acting chops to prove it with surprising range and personality. Danny Glover, bless him, is a solid anchor for this tale as he plays Miles with a sense of sturdy poise and dynamics that keeps the feature steady even through the more imbalanced moments. And last but certainly not least, Leelee Sobieski astounds with a powerfully commanding, nuanced show of skill as Chloe. It's a true delight as a viewer to watch Sobieski assume such an unflappable, even wolfish personage, and with this performance alone one can only regret that she chose several years ago to walk away from the film industry.
Yes, without a doubt this is imperfect and uneven. And while it by no means reflects on the capabilities of King as a director or his crew, the basic building blocks of the visuals don't make much of an impression without the contributions of the cast, or the fiery progression of the plot, or the acting. Even at that - though not as much so as some straight dramas, the humble beginnings of the story here require some patience before the real meat of the film manifests. This won't appeal to everyone, and I can understand that. However, whatever misgivings I may have had from the start were completely washed away well before the climax, and as I think on the movie afterwards my favor only grows. When all is said and done I think 'Night train' is a delicious, smart mixture of ideas, held aloft most of all with great writing and strong acting, and it earns a high recommendation from me.
To be honest I was skeptical as the picture began; much of what first greets our vision is initially off-putting, not least of all for lack of context or immediate clarity. While the film definitely turns a corner, those exterior shots of the train remain a tad unnecessary; Henning Lohner's broadly excellent, electrifying score feels slightly out of place. Something about the production seems almost imperceptibly "off" as the constituent parts resonate so strongly that in their excited quiver their hard edges kind of butt against one another instead of wholly meshing, and the climax feels slightly drawn out such that its resolution, and the ending, are relatively speaking a smidgen inelegantly rushed.
Yet all those subjective shortcomings are ultimately minor, and pale in comparison to the strength herein. For all the vagueness that initially defines the characters and narrative, like fuzzy grey blobs, these gradually crystalize into pitch black daggers. Filmmaker Brian King has penned an original story that trades in discrete details of time, place, or person in exchange for fierce personalities and a compelling, increasingly thrilling narrative that could easily be adapted to any setting. On the surface 'Night train' is all it needs to be as a surprisingly dark mystery thriller, but vivid themes shine through of greed, deceit, selfishness, and aggressive opportunism detached from morality - a stark if underhanded commentary on capitalism (note how the characters react to the MacGuffin, and how they perceive it). And as if this weren't enough, King rounds out his screenplay with outstanding scene writing, rife with an unexpectedly harsh, invigorating tone, that locks us in to see what happens next.
Finally, if King's writing is one aspect of the picture to stand out especially tall, then the other is the cast. The small supporting cast give fine performances with the time they're given, including Richard O'Brien (!), and Geoff Bell. Above all, of course, it's the principal three who genuinely impress. For all the dopey roles Steve Zahn has taken on at one time or another, he has some serious acting background, and here demonstrates the acting chops to prove it with surprising range and personality. Danny Glover, bless him, is a solid anchor for this tale as he plays Miles with a sense of sturdy poise and dynamics that keeps the feature steady even through the more imbalanced moments. And last but certainly not least, Leelee Sobieski astounds with a powerfully commanding, nuanced show of skill as Chloe. It's a true delight as a viewer to watch Sobieski assume such an unflappable, even wolfish personage, and with this performance alone one can only regret that she chose several years ago to walk away from the film industry.
Yes, without a doubt this is imperfect and uneven. And while it by no means reflects on the capabilities of King as a director or his crew, the basic building blocks of the visuals don't make much of an impression without the contributions of the cast, or the fiery progression of the plot, or the acting. Even at that - though not as much so as some straight dramas, the humble beginnings of the story here require some patience before the real meat of the film manifests. This won't appeal to everyone, and I can understand that. However, whatever misgivings I may have had from the start were completely washed away well before the climax, and as I think on the movie afterwards my favor only grows. When all is said and done I think 'Night train' is a delicious, smart mixture of ideas, held aloft most of all with great writing and strong acting, and it earns a high recommendation from me.