The Midnight Meat Train (2008)

Director:

Ryûhei Kitamura

Writers (WGA):

Jeff Buhler (screenplay)
Clive Barker (short story "The Midnight Meat Train")

Release Date:

7 August 2008 (Russia)

Genre:

Crime | Drama | Horror | Mystery | Thriller

Tagline:

The most terrifying ride you'll ever take

Plot:

A New York photographer hunts down a serial killer.

Plot Keywords:

Subway Station | Photographer | Subway | Art Gallery | Waitress

Awards:

4 wins

Cast

Bradley Cooper	...	Leon
Leslie Bibb	...	Maya
Brooke Shields	...	Susan Hoff
Vinnie Jones	...	Mahogany
Roger Bart	...	Jurgis
Tony Curran	...	Driver
Barbara Eve Harris	...	Detective Lynn Hadley
Peter Jacobson	...	Otto
Stephanie Mace	...	Leigh Cooper
Ted Raimi	...	Randle Cooper
Nora	...	Erika Sakaki (as NorA)
Quinton 'Rampage' Jackson	...	Guardian Angel
Dan Callahan	...	Troy Taleveski
Don Smith	...	Station Cop (as Donnie Smith)
Earl Carroll	...	Jack Franks

Also Known As:

Clive Barker's Midnight Meat Train (USA) (promotional title)

MPAA:

Rated R for sequences of strong bloody gruesome violence, grisly images involving nudity, sexual content and language.

Runtime:

98 min | USA:100 min | France:85 min | USA:103 min (unrated version)

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

USA:R (NO. 44086) | South Korea:18 | Singapore:R21 | Netherlands:16 | Singapore:M18 (edited for re-rating) | UK:18 | Ireland:18 | Australia:R | Finland:K-18 | France:-16 | Argentina:16 | Canada:18A (Canadian Home Video rating) (director's cut) | New Zealand:R18

Filming Locations:

Burbank, California, USA

Company:

Lakeshore Entertainment

Trivia:

On its official North American release to cinemas, the film opened in 102 discount theatres, also called "dollar theatres" for their very low admission prices, rather than at regular first-run cinemas with normal ticket prices, which was a factor in its poor opening weekend box-office earnings.

Goofs:

Crew or equipment visible: In the subway car at the opening of the film (approx 00:02:20), a ladder is visible through the left window, highlighting the use of a set and studio.

Quotes:

Mahogany: Welcome.

Movie Connections:

References Forrest Gump (1994)

Soundtrack:

Song For April

MMT is exactly what the title implies - fast and brutal

There's something deeply disturbing about the 'show biz' politics and intrigues that managed to exile such a well made film to the 'dollar theaters'. On the other hand, horror purists of all calibre will probably get a kick out of seeing the visceral shocks and convoluted twists Riuhei Kitamura and Clibe Barker have prepared for our enjoyment in the environment of a seedy, rundown theater. If the disturbed denizens of 42nd Street have all but disappeared, scared away by the gloss and glitz of the cineplex and the popcorn munching crowd that inhabits it, perhaps the final bastion of grindhouse cinema can be found in watching a brutal, bloody shock horror film in an empty theater with row upon row of sticky floor and no one but a handful of genre enthusiasts there with you.

There's also something deeply disturbing about the mentality of the movie-watching public. That a, by the look of it, worse sequel (and I'll be surprised if it's any better than its predecessors) will gross more than MMT, simply because of a household franchise name, a shot of a tape player and someone musing off screen "I want to play a game...", seems to confirm UK grinders Napalm Death motto "the public gets what the public doesn't want".

That's not to say that MMT is an excellent horror flick. No, far from it. But it does exactly what it says on the tin and then some. If the pace slackens a bit after the balls-to-the-wall pummeling that is the first half hour, it is salvaged by Kitamura's (intentional or not) decision to channel the dark, neon-noir of David Fincher.

If the CGI blood is a sign of things to come in the field of mainstream American horror or a leftover from Kitamura's days in Japan, that's for him to know. What Kitamura brings in his cinematic baggage however is his distinct stylistic hallmarks - when the camera repeatedly spins around a train wagon in motion, one will be hard pressed not to recall a similar rotating camera trick from AZUMI. A long overhead crane shot seems to combine the off-kilter axis games of Argento with Tarantino's now-famous crane shot in KILL BILL.

If some people complain that the editing and style appear to be too music video-ish, I will respectfully disagree and point them in the direction of such atrocities as DOOMSDAY and HELL RIDE. Kitamura at least understands rhythm.

The 'novelty' of staging a slasher in a subway train is what gives MMT the first push. The other is the inspired casting choice of having Vinnie "Mean Machine" Jones in the role of the baddie. The third is the distinctly Clive Barker-ish twist that ends the film - not exactly my cup but that's because my sensibilities are totally different from Barker's.

MMT might never quite reach its full potential story-wise, but it's fast-paced and brutal, exactly what the title promises. 7.5/10