The Midnight Meat Train

A great movie i must say. Its been a long time there comes a movie that hits you in head. I mean literally. This is perhaps the most under-rated horror movies of the 2008. The reason might be the gruesome violence and the nature of it. Surely this is not for the faint of heart. The movie has a great storyline and the more you see you more you are involved within and you have to see the ending. I won;t comment much on the story. You have to see it to believe it. But i will say that it is not to be missed. and trust me you will think twice travelling in subway at midnight after watching this great piece of horror genre.

It was a shame that this was dumped to direct to video by Lions gate. I remember seeing a trailer for it at the theater when watching another movie. Although it didn't get the theatrical run it deserved, The Midnight Meat train is a fantastic adaptation of a short story by Clive Barker. Japanese director Ryuhei Kitamura did a nice job in his American debut. This is a very original story that was executed well on the big screen. The film was nicely shot, well acted with lots of gore and nice atmosphere. Bradley Cooper gives a really strong early performance as the lead and Vinny Jones was fantastic as the iconic butcher Mahogany. This is a pretty dark and disturbing horror flick that is very brutal, but still comes across as a classy production. Some of the CG effects are a little cringeworthy, but as a whole this film looks great and is massively underrated in my opinion.

A frustrated photographer named Leon (Bradley Cooper) is assigned by ambitious owner of art gallery named Susan (Brooke Shields) asks him to improve the quality his pictures.Leon neglects his waitress fiancée (Leslie Bibb) and roams the undergrounds at night in search of something rare and actual. Then he finds a strange and silent meat-packer (Vinnie Jones) at the last midnight train. After that, Leon goes to the Police precinct but the Detective Hadley(Barbara Eve Harris) doesn't believe him.

This frightening movie displays terror, shocks, hard-edged drama , and creepy images . While the look is suitable atmospheric and eerie, the argument stretches plausibility to the breaking point. This is an acceptable Clive Baker adaptation of the short novel with same title. The picture is full of suspense,thrills, mystery, and lots of blood and gore .This slick gore-feast is a triumph of style over movie logic. It's packed with overwhelming body count, excessive gore, grotesque killing, and rivers of red blood. The picture is smartly designed ,stylishly photographed filming in shades and lights . It packs,tension,suspense,chills,horror and lot of blood and gore including slitting the throat,attempted rage, slicing ,stabbing, all courtesy of excellent craftsmen. They create a creepy make-up of horrible and bloody images. The gutsy murders are gruesomely executed and equally are ghastly graphic .The film is constituted by some well done horror set pieces with creepy and spooky atmosphere.The butcher-murderer appearance deliver the goods with hair raising chills, full scares and scary frames.The story is borrowing from the original short story by Clive Baker who has several cinematic adaptations, as ¨Nightbreed¨, ¨Lord of illusions¨, ¨Hellraiser¨ and ¨Candyman¨ with their uncountable sequels. Thrilling musical score with frightening sounds and appropriate cinematography with dark atmosphere by cameraman Jonathan Sela. The motion picture is skillfully directed by Kitamura. Rating : Acceptable and passable Clive Baker rendition that will appeal his followers.

Photographer Leon Kauffman (Bradley Cooper) wants to break into the world of art. After a semi-rejection from an art mainstay (played by Brooke Shields), he delves deeper into the heart of New York, trying to get at its most gritty. He finds it: a butcher who he believes is kidnapping and killing people riding the last subway of the evening.

Fans of this Clive Barker short-story may be pleased. The screenwriter and director changed practically nothing from the story, simple adding and expanding certain parts to fill the time (the original story is roughly thirty pages). All the supernatural elements are there -- and more -- plus plenty of gore. Sadly, the film contains some CG gore where no CG was needed, which I not only dislike but found it even more obviously fake on the big screen. There is a notable scene with Ted Raimi (playing Randle Cooper) that could have been done with traditional effects but wasn't.

Aside from the CG concerns, I found the movie more likable than unlikable. Leon is a cool lead, his girlfriend is lovable and his friend is a good friend archetype. The butcher, Mahogany -- Vinnie Jones -- is a good choice for a killer, with a good actor. Jones showed his horror mettle in "Tooth and Nail", but I think he really comes out here with full power, looking very dapper in his suit.

Those who dislike mysteries may be left unfulfilled after this one. While it's a pretty straightforward tale, even after the supernatural elements start showing up, some aspects remain unanswered. I probably can't get into all of them now without spoiling the film, but I can speak of one: the objects in Mahogany's medicine cabinet are never explained. I have my own theory on what they are, but I could be wrong (the short story never touches on this).

I don't know if this is a film you need to see. Once it goes to video, it may be more likely to be a second or third choice. As of early August, it is the only horror film in theaters and therefore a must-see for those who crave a horror experience in the theaters. But by next week, "Mirrors" is coming and will probably overshadow this one. (I would like to scold the marketing people for keeping the publicity low, not releasing it to the main theaters, and more or less letting it die. This is not a blockbuster, but it's better than most of that straight-to-video fare. By not giving it a fair showing in theaters, you have sealed its fate.)

Clive Barker's more sanguinary inclinations are paid tribute here through a hulking golem, a malevolent meat merchant in his dapper best, named Mahogany (Vinnie Jones) who smashes, eviscerates and cleaves through unsuspecting commuters on the last train home. Adapted from Barker's seminal anthology, "Books of Blood", the similarly named "The Midnight Meat Train" is more than just an opportunity for some sophomoric snickering over its title but one of Barker's most revered short stories about a supernatural serial killer that ekes out fascination, fear and obsession from a lone photographer, Leon Kaufman (Bradley Cooper) stumbling upon the butcher's late night deliveries.

Director Ryuhei Kitamura (of "Versus" and "Azumi" fame) offers up one of the year's most brutally alluring gore fests in his American debut. With the gritty and detailed hard-edge of early 70s horror films (why, hello there Lucio Fulci!), his flair for CGI augmented visuals and the intense seduction of experimental camera-work in a cinematic environment so increasingly sanitised of actual visceral terror, Kitamura refreshes the genre's ability to unsettle and provoke audiences and jolt jaded horror enthusiasts out of their PG-13 apathy.

Kitamura works with a modest but shrewd sense of space in the decaying subway, the claustrophobic train and the creeping gloom of the city. There's a certain simpatico between Barker's distinctive tone and Kitamura's balls-to-the-wall film-making that compliments each other to the benefit of the film's atmospheric resilience. The unvarnished horrors cooked down deep in the gallows of the tunnels, plunged into darkness form the basis of Kaufman's terrible fixation on the disappearing passengers and that indescribably malicious man who stalks the shadows. Mahogany is the film's myth, the legend of The Butcher. Prepossessing the exactitude of traits essential to the character, Jones has the nasty glint in the eye, the mysterious swagger of indestructibility and the imperative of consuming evil, as well as having the benefit of looking like the quiet guy in the corner of the bar who could take out an entire gang of hoodlums without spilling his drink.

Kitamura's modulation of the material's emotional stakes and his slow-burn style of ratcheting up tension gives the story further layers to plunge into, not withstanding Cooper's unlikely presence as the film's corruptible protagonist. Jeff Buhler's screenplay from Barker's 25-year-old story is uneven at times but keeps an atmospheric dread of hopelessness. Supporting characters include Kaufman's wife (Leslie Bibb), a counterpoint to the man's wavering sanity and a threadbare characterisation of his good-humoured pal Jurgis (Roger Bart) who stands to represent Kaufman's humanity. But even if these emotional contrasts don't work, the film itself is a tidy and effective meta-slasher that resonates beyond corporeal carnage. Kitamura's subtextual ingenuity is shown through macabre imagery of animal carcasses hanging off meat hooks as Mahogany tenderises, disembowels and stores his victims just like the morsels of flesh they are.

Clive Barker's fantastical and mad blend of visceral shocks and profoundly unsettling explorations of worlds coexisting and buried deep within the one we think we understand has become an important component of our contemporary literary and filmic universes. While "The Midnight Meat Train" never hits the spasms of metaphysical despairs in "Hellraiser" or the diabolical mind-warps of "Candyman", this is forthright horror – simple, powerful and unadulterated.