Latest news with #BulletTrainExplosion
Yomiuri Shimbun
16-05-2025
- Entertainment
- Yomiuri Shimbun
Netflix's ‘Bullet Train Explosion' a Thrilling Reboot of '75 Classic; ‘Shin Godzilla' Director Skilfully Revives Story
Tsuyoshi Kusanagi plays Takaichi, a conductor on the titular bullet train, in the film 'Shinkansen Daibakuha' ('Bullet Train Explosion'), available worldwide exclusively on Netflix. As a Shinkansen bullet train starts its journey, it soon becomes clear the train is rigged with at least one bomb. However, it must keep running to avoid setting off the explosives. 'Shinkansen Daibakuha' ('Bullet Train Explosion') is a Netflix reboot of the 1975 film of the same Japanese name, called 'The Bullet Train' in English releases, produced by Toei Co. But the new film is no mere rehash — rather, it's yet another masterpiece directed by Shinji Higuchi, who has breathed new life into classic tokusatu sci-fi films and made such gems as 'Shin Godzilla.' Viewers are sure to be entertained by the speed, thrills and vision of hope for society. The original film is famous for portraying the suspense of an unstoppable vehicle long before 1994 U.S. blockbuster 'Speed.' In the reboot, the bullet train is a Tokyo-bound Hayabusa No. 60 on the Tohoku Shinkansen Line, departing from Shin-Aomori Station. A phone call from an anonymous culprit says the train will explode the moment its speed falls below 100 kph. The ransom for deactivating the bomb is ¥100 billion and to be paid by the people of Japan. Still, the government sticks to its basic policy of not negotiating with terrorists. So, what should be done to save the passengers? Is it possible to avoid an explosion at the destination? The railway men and women mount a rescue operation. On the front line of the operation is conductor Takaichi (played by Tsuyoshi Kusanagi), who believes the top priority should be the passengers' safety. East Japan Railway Co. collaborated specially with production, which allowed a bullet train of the same type as Hayabusa No. 60 to make seven round-trip journeys for filming. Such real objects are skillfully implemented, along with special effects and top quality hand-made props, like one-sixth-scale miniatures. Together they all created dynamic, heart-racing visuals, along with multiple moments where it appears as if the running train is doing fabulous stunt work. The film's dramatic storyline is good, too. In the 1975 film, the group of perpetrators included a former owner of a bankrupt factory and a former member of an anti-government group. Societal injustice led them to become the criminals who risk their lives in the bombing scheme, eventually meeting their fates. Their downfall added a bitter yet impactful complexity to the story. Without giving away too much, the new film is not just rebooting the story of the original, but functions as a secret stand-alone sequel. This time, the perpetrator wishes to destroy 'the false normality,' wanting to remove the superficiality that masks daily life and reveal humankind's true nature. Protagonist Takaichi is forced to make a choice that ultimately challenges his beliefs as a railroad worker. While the original film ends after shedding light on societal divisions, the new film depicts what is necessary to heal these divisions. And it does so without making it feel like a fantasy. The sincere feeling is firmly supported by the actors' fine performances and realistic portrayals of railway workers at work. The story moves at a rapid pace, making some parts of the rescue mission difficult to follow. However, the benefit of streaming is that the film can be rewatched over and over. Having said that, I can't help wanting to watch this dynamic film on the big screen.
Yahoo
12-05-2025
- Entertainment
- Yahoo
The 10 Best Movies of 2025 Thus Far, According to PureWow's Editors
We've yet to hit the halfway mark in 2025, but this year has already brought us some of the best movies. Millions have flocked to theaters to see blockbuster hits like Sinners and Companion, while streaming services like Netflix delivered unforgettable titles like Bullet Train Explosion. So, naturally, I thought I'd poll the other PureWow editors to craft a list of the 10 best movies of 2025 so far, ranging from laugh-out-loud comedies to nail-biting thrillers. Now, not every popular release made the cut (sorry, Exterritorial). But my colleagues and I can assure you these top movies of 2025 will make your movie nights ten times better. Cast: Keke Palmer, SZA, Katt Williams, Vanessa Bell Calloway Rating: R Palmer and SZA star as best friends who scramble to raise enough money for rent after one of their boyfriends steals it—and guys, these two are such a delight to watch. The chemistry between them is so genuine, and I love how the film smartly uses humor to tackle real issues. Associate Commerce Strategist Jael Rucker wrote, "I didn't realize how much a film like One of Them Days was needed within Black storytelling—just two young women in a movie that is…funny. There's no traumatic retelling, nothing that will make you emotional and no critical deep-thinking required—just lighthearted fun." Watch on Netflix Cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku Rating: R Black Panther director Ryan Coogler strikes again with this Oscar-worthy horror film, where Jordan plays a dual role as twin brothers who return to their hometown to get a fresh start. Unfortunately, they come to realize that things have changed, and they're forced to confront something terrifying and evil. From Coogler's masterful direction to Jordan's captivating performance, I can see why it debuted with a 100 percent on Rotten Tomatoes. Rucker says, "I feel confident saying that this is Jordan's best role to date, or at least his most diverse. Playing a dual role is the ultimate of an actor's prowess, in my opinion, because the actor has to convincingly play two different characters within the same project—not an easy task by any means, but one Jordan does with ease." Get Tickets Cast: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén Rating: R In the mood for a twist-filled thriller that's fun and thought-provoking? Try Companion. Without giving too much away, it revolves around Iris and Josh, a young couple who join their friends for a getaway at a remote cabin. But things take a wild turn when a gruesome death occurs, and Iris makes a shocking discovery. In his review, PureWow's VP of News & Entertainment, Philip Mutz, wrote, "Though Companion is definitely a thriller, it's also so fun to watch. It's jam-packed with humor—much of it coming from one of Josh's friends, Eli, played by the brilliant Harvey Guillén—and ridiculous plot twists. It's a wicked and wild ride that I'm so glad I went on." Watch on Max Cast: Renée Zellweger, Chiwetel Ejiofor, Leo Woodall, Jim Broadbent, Gemma Jones, Isla Fisher, with Colin Firth and Hugh Grant Rating: R In this fourth installment of the beloved franchise, Bridget is a widowed single mother of two, having to juggle her family and career with an unexpected love triangle. Even if you've never seen any of the films, it's just as charming as a standalone rom-com. Per PureWow's Senior Editor, Dana Dickey, "The film is fast-paced, with surprising character arcs and narrative twists. There's a centerpiece performance by one of the children that you'll get misty-eyed watching. A recurring owl is a resonant symbol of grief. There is physical comedy, and there are montages and—no spoiler here, it's in the trailer—a cameo from Bridget's famous granny panties." Watch on Peacock Cast: Lucas Jade Zumann, Beverly D'Angelo, William Baldwin, Ashanti, Ty Pennington Rating: NR Inspired by true events, this eye-opening drama follows a group of people who are experiencing homelessness. They all forge an unbreakable bond and look out for each other as they deal with criminals, gangs and an apathetic community. Rucker wrote in her review, "This film is actually a cross between a mystery and a thriller, taking you through the gut-wrenching reality of what can happen when you are homeless. If you're looking for a unique storyline that provides an in-depth look on a topic that doesn't get discussed nearly enough, I highly suggest giving this film a shot." Watch on Prime Video Cast: Meghann Fahy, Brandon Sklenar, Violett Beane, Jeffery Self Rating: R Edge-of-your-seat thrillers like Carry-On and Havoc have become my bread and butter, and Drop is easily one of the best I've seen. It follows Violet, a widowed mom who goes out on her first date in years. However, the date takes a dark turn when she starts to receive threatening messages from a mysterious hooded figure. To ensure her kids don't get killed, she's commanded to follow one task: murder her date. Fahy is truly the star here, convincingly portraying an overwhelmed mom who's forced to keep up a charming facade with her date while communicating with her blackmailer and trying to plot an escape. It's tense, it's full of suspense and it's got the ultimate plot twist that'll make your jaw drop. (Pun intended.) Watch on Apple TV+ Cast: Tsuyoshi Kusanagi, Kanata Hosoda, Non, Takumi Saitoh, Machiko Ono, Jun Kaname Rating: TV-14 In the high-stakes thriller, which serves as a sequel to the 1975 film, The Bullet Train, a group plants a bomb on a Tokyo-bound train. Panic ensues when news gets out that the bomb will go off if the train's speed drops below 100km per hour. If you liked Speed (which, FYI, was inspired by the original film), then you'll enjoy the palpable tension and suspense. The main cast also delivers unforgettable performances. Watch on Netflix Cast: Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas Rating: PG-13 MCU fans may have expected an action-packed, heart-pumping spectacle with all the CGI effects, but in a refreshing twist, Wilson puts on his detective cap as he investigates a major conspiracy—one that involves U.S. president Thaddeus Ross. Per Rucker's review, "The film is a full-blown conspiracy thriller—so different from what has become typical in the MCU that you can almost separate it completely. Perhaps this was deliberate on the part of director Julius Onah, as many people (myself included) are 'superheroed out,' and this was the perfect way to slowly reel those of us in this category back in." Watch on Disney+ Cast: Sofia Carson, Kyle Allen, Connie Britton Rating: PG-13 Based on Lori Nelson Spielman's novel, the romantic drama follows Alex Rose, a young woman who tries to fulfill her late mom's wish of completing a teenage bucket list. The feel-good story explores grief, self-discovery and the importance of taking risks. Danielle Long, PureWow's Assistant Editor of News and Entertainment, writes, "It's the kind of film that has you feeling all the emotions as Alex navigates this second coming-of-age moment and learns to live fully again. It's a mix of drama, romance and self-reflection." Watch on Netflix Cast: Abigail Breslin, Matthew Daddario, Lainie Kazan Rating: PG It's the charming, underrated gem no one is talking about, but it's a heartwarming flick that'll make you run the gamut of emotions, where you're cackling your socks off one moment and shedding tears the next. The film follows a young woman as she meets her boyfriend's traditional Italian-American family for the first time, and it proves to be an unforgettable experience. The movie expertly tackles common Italian stereotypes and sheds light on the complexity of family relationships. Watch on Prime Video Want all the latest entertainment news sent right to your inbox? Click here. The 70 Best Summer Movies of All Time & Where to Watch Them
Yahoo
11-05-2025
- Entertainment
- Yahoo
‘Bullet Train Explosion' Director on Creating the Netflix Action Thriller, Working Officially With Japan's Shinkansen
Shinji Higuchi's action thriller Bullet Train Explosion debuted on Netflix on April 23 with something of a bang, with the movie enthusiastically embraced by viewers and climbing as high as No. 2 in the streamer's global non-English films list. The movie was another win for Netflix Japan, and notably a breakout feature for the region after it had scored international and critical successes with series such as Alice in Borderland, First Love, JoJo's Bizarre Adventure: Stone Ocean, The Makanai: Cooking for the Maiko House and The Boyfriend. A sequel to Junya Sato's 1975 classic The Bullet Train — a film that inspired Jan de Bont's 1994 blockbuster Speed — Bullet Train Explosion updates the action to the present day and similarly sees an unseen villain claim (and also prove) that they have placed a bomb on a Tokyo-bound Shinkansen train, that is set to explode if the train drops below 100 km/h in speed. A combination of JR East train employees, passengers, as well as control tower staff and bureaucrats then attempt to figure out a plan to rescue the hundreds of train passengers and stop the train from reaching central Tokyo before it explodes. More from The Hollywood Reporter Is Europe the Last Bastion of DEI in Film and TV? A Belgian Boxer Goes to the Mat in Directors' Fortnight Entry 'Wild Foxes' (Exclusive Trailer) Tom Cruise Shuts Down Tariffs Talk at 'Mission: Impossible' Press Event: "We'd Rather Answer Questions About the Movie" On top of its lineage to The Bullet Train, Higuchi's film will have extra special resonance for Japanese audiences, as well as anyone who has visited Japan, with the central importance the Shinkansen plays in the movie. Bullet Train Explosion is notable for the production getting official backing from Japanese railway operator East Japan Railway Company, a rarity as the organisation is loath to sanction depictions of the service that may cast aspersions or associate it with unsavory issues. At Netflix's recent Asia Pacific film content showcase in Tokyo, Higuchi, as well as some of the creative team behind Bullet Train Explosion, spoke at length about the linkup with JR East and the amount of detail the production went into recreating the high level of verisimilitude in the film. Higuchi and the producers were keen to stress that Japan's legions of train afficianados would appreciate the level of work that went into the sets that recreated the carriages, the uniforms and everything else that was unimistakably a part of the experience of travelling on the JR East. Ahead of the streaming release of Bullet Train Explosion on Netflix, The Hollywood Reporter spoke to Higuchi about the film at the Tokyo showcase. The filmmaker discussed the inspirations he took from The Bullet Train, what the Shinkansen means to the Japanese people, the making of the film and some of the dos and don'ts from JR East Railway. First, I wanted to ask you what you think the Shinkansen train means to people in Japan? Why is it so important? I don't know what the Shinkansen train means for everybody in Japan, but for me on a personal level, I was born in 1965 and the first Tōkaidō Shinkansen was introduced a year before I was born. And so as a child, the Shinkansen was something that you would see in TV programs and there would be children's songs about it. It was something that everybody dreamed of, it was aspirational for us. It was the first thing that really let you experience things out of the ordinary. As I grew into an adult, I would use the Shinkansen more for getting to and from work. And so I started using it differently than compared to when I was a child. And the Shinkansen evolved too, the speed became 1.5 times faster than it was in the beginning, and it allowed you to go to all these different places. When it started, it was just one route between Osaka and Tokyo, then it expanded, and you were able to go everywhere. When that happened, it went from something out of the ordinary, to something that was part of everyday life. Then in 1975, there was the original movie, [The Bullet Train]. The poster showed the Shinkansen blowing up, but when you actually saw the movie, though, it didn't explode! Because it would be a disaster if it actually exploded, so the characters just did everything in their power to prevent the explosion from happening. [In the film] you see the police, the railway company, people doing everything they can to stop the bullet train, that was something that was very intriguing to see. [The star of The Bullet Train], Ken Takakura, is an iconic actor in Japan, he played perpetrator. This actor, who we usually saw as a hero, was now a villain, he sets a bomb on the train, and he is shot by the police at the very end. I was in fourth grade when the film came out, and until then I had only seen movies of monsters, heroes and animation. And The Sound of Music! [laughs]. So it was the first time that I saw a movie where the criminal was shot by the police. It was very shocking because I was accustomed to seeing movies with happy endings. [The film] really talked about the injustice that exists in this world, and it taught me a lesson. It was a refreshing experience, where you were able to experience the thrill of somebody actually committing a crime, and then also this real tension of seeing this beautiful Shinkansen being in this kind of situation. So the film left an emotional scar when I saw it for the first time. Regarding the themes of your film. What did you want to communicate to Japan and also to the world with the themes of the film? What I loved about is the way that it is a great action film, but also the way it celebrates the things the world loves about Japan, like working together to solve problems, keeping the trains on time, social trust. Did you have those things in mind at all? From a critical point of view, I think the Japanese people they are on a decline, compared to 50 years ago, when the original film was made. Everything has been going down, in terms of the economy. But then, if we bring you that decline as the core of this film, that's not going to make anybody happy! This time around [for Bullet Train Explosion], the characters in this film are all people that are not such great people, including, some of the passengers, they all have their faults. [There's the scandal-plagued] politician, there's the YouTuber that only thinks about money. There are a lot of these kinds of people in Japan today. And the ultimate character is the girl who has no appreciation for life and no hope at all. Those are the characters, but we made a point of not killing any of them. Then you have the JR people, the staff on the JR, these are people that seem like they are only able to do routine work. [Tsuyoshi Kusanagi's character] would have been able to save all the passengers if he was able to kill that girl, but he's not able to do that. So, it's really a question of whom the hero is, and that's the message that I wanted to convey when we were portraying the perpetrator. I think the character that Tsuyoshi Kusanagi played is very representative of the people of Japan in today's society. Actually, when we initially came up with the idea of the conductor, his background would be that he would have a family, he had children to go back home to. He would have this everyday life, and he would be stuck in this conflict between his family and his work. When we pitched that character idea to JR in the beginning, they said the scenes where [the conductor] leaves a voicemail on his smartphone or emails his family from the Shinkansen [weren't realistic] because when the JR conductor boards a Shinkansen, they do not have smartphones with them because they put them in their lockers at the station. They shut themselves off completely from the outside world and their families. From my point of view as an American, watching the film what I loved about it is that we're living in a time when all around the world, trust in institutions and civic society is breaking down. This film really celebrates people doing humble jobs with dignity — coming together to solve a problem. There's some critique of bureaucracy, but overall, people work together to solve a problem. The trains are running on time, where it feels like social services around the world are breaking down, like even Germany's trains don't run on time anymore! Do you think the world can learn from Japan a little bit at this moment and what this film says about that? And the other thing I'm curious about is what else JR said that you could and couldn't do, and what their concerns were? I don't really have an intention of pushing Japan's message to the world! I'm actually more curious to hear what people think of the film after they see it. When I first went to the airport [in the U.S.], I saw the people who were doing the body checks, and they seemed to be living an extension of their private life and everything was just very free and so that actually was very shocking to me when I first went to the U.S. And I think it really showed what kind of country that the U.S. is. I think there isn't a need for any country to be like the other. We need to learn and take the good things from one another. And they were throwing snacks! On the flight! [laughs] It makes you feel you can join in, become one of them! That would never happen on the Shinkansen! [laughs] It's a very small thing, but that's one of the things that I really appreciated when I went to the U.S., that experience. It's great. I love it. About JR and their concerns. I think, because they have so many rules, if we had kept to each and every one of their rules, everything would have been out of the question! In that sense, they really gave us that freedom to do what we wanted. But we really did stay in tune to the mindset of the employees and really thought of how they would react in these kinds of situations. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
11-05-2025
- Entertainment
- Yahoo
The Most Influential Women in International Film
Let's be honest: Gender-based lists like THR's Most Powerful Women in International Film should be passé by now. It is 2025, after all. But the fight for equity in the global entertainment industry is anything but over. In some places, it's barely begun. From the backlash against DEI initiatives in the U.S. to a blistering French report exposing systemic abuse across the arts, the message is clear: Progress is under threat. Which is why spotlighting these 45 global power players feels more vital than ever. 'We need to fight back with all the tools and resources we have,' says Carole Scotta, co-founder of France's production outfit Haut et Court. Or, as Nigeria's EbonyLife CEO Mo Abudu puts it: 'Until the industry makes room for authentic voices from different cultures and backgrounds — on a systemic level — we'll continue to miss out on powerful, transformative storytelling.' In other words, this list isn't a pat on the back. It's a rallying cry. CEO, EbonyLife Media (NIGERIA) More from The Hollywood Reporter 'Bullet Train Explosion' Director on Creating the Netflix Action Thriller, Working Officially With Japan's Shinkansen Is Europe the Last Bastion of DEI in Film and TV? A Belgian Boxer Goes to the Mat in Directors' Fortnight Entry 'Wild Foxes' (Exclusive Trailer) A longtime perennial on THR's international power lists, Abudu isn't just a media mogul — she's a movement. The British-Nigerian founder of EbonyLife Media has produced everything from local box office hits (The Wedding Party, Òlòtūré) to global deals with Netflix and Sony. In 2024, she launched the $50 million Afro Film Fund and announced EbonyLife Place London, a cultural hub set to open by year's end. 'Stay focused, be authentic and find your own voice,' she advises young women. 'The world doesn't need more copies — it needs what only you can bring.' Co-founders, Komplizen Film (GERMANY) The duo behind Berlin's Komplizen Film have been championing auteur cinema for 25 years — with Ade directing the Oscar-nominated Toni Erdmann and Jackowski producing an eclectic slate of German and international indies. Their recent co-productions include Spencer, Corsage and Sentimental Value in Cannes competition. 'Film financing needs reliability,' Jackowski says, citing rising instability around tax incentives and public funds. Still, they're bullish on bold cinema. 'Anora and Emilia Pérez show that risk-taking storytelling can still connect with broad audiences.' Funke Akindele Network (NIGERIA) Actor, writer, director, producer — Akindele does pretty much everything. Her 2024 Nigerian box office smash, Everybody Loves Jenifa (the third film in the hit comedy franchise), was yet another showcase for her all-in creative approach. Her production outfit, Funke Akindele Network (FAAN), champions homegrown Nigerian stories and control over how they're told. 'It's about owning and empowering our narrative,' she says. And judging by her string of local blockbusters, audiences love how she tells it. Head of Fiction, Cottonwood Media (U.K.) Paris-based but with a sharp eye on the U.K. scene, Ardisson is quietly building a mini empire of indie cred. She produced Francis Lee's God's Own Country and the feminist doc Witches, co-founded the female-driven Ardimages U.K. and, in 2024, struck gold with Kneecap, the Irish rap biopic that turned director Rich Peppiatt into the most nominated debut filmmaker in BAFTA history. Co-owner, Eon Productions (U.K.) No introduction needed — Broccoli is half of the creative force behind one of the most successful franchises in filmmaking history (the other being her half-brother Michael Wilson). Sure, she just sold Bond to Amazon for a reported billion dollars, but she clearly has filmmaking interests that don't involve shaken martinis and Aston Martins with pop-off tops. Broccoli's Eon Productions also recently produced Till and The Accidental Getaway Driver, among other projects. All eyes are now on Bond's new Amazonian masters, Amy Pascal and David Heyman, who definitely have a tough act to follow. Founder, Heimatfilm (GERMANY) The veteran German producer long has championed provocative auteur-driven cinema through her Cologne-based Heimatfilm. 'Maintaining artistic diversity and freedom in an increasingly algorithm-driven market is the biggest challenge facing independents,' Brokemper says. 'There's a real danger that stories which don't fit neatly into global streaming models get overlooked, even though they're often the ones that need to be told the most.' Her credits include Lars von Trier's Antichrist, Margarethe von Trotta's Hannah Arendt and the upcoming LGBTQ+ period drama Scotch Verdict, starring Flora Nicholson and Fiona Shaw. Her advice for young female filmmakers: 'Take space, speak up and surround yourself with people who value your perspective.' CEO, Conspiração Filmes (BRAZIL) Brandão has her fingerprints on some of her country's buzziest recent content. She's helped shepherd Netflix hits like Sintonia and DNA Do Crime, as well as Vale o Escrito for Globoplay. Her strategy blends local flavor with international potential, and she's vocal about Brazil's growing influence in global storytelling. 'Audiences are hungry for stories that reflect their reality,' she says. Co-founders, Causeway Films (AUSTRALIA) Through their banner Causeway Films, Ceyton and Jennings have helped put Australian horror back on the global map. After breaking out with The Babadook and The Nightingale, they scored again with Talk to Me, A24's 2023 supernatural hit. More buzzy titles are on the way: Bring Her Back, starring Sally Hawkins, and Went Up the Hill, with Vicky Krieps and Dacre Montgomery. Whether it's unsettling genre fare or awards-bound indies, this producing duo has quietly become one of Australia's most formidable exports. CEO, Inicia Films (SPAIN) Delpierre has carved out a niche spotlighting emerging female voices and overlooked linguistic communities. Her recent standouts include Klaudia Reynicke's Swiss Oscar contender Reinas and Pilar Palomero's Glimmers. 'With so much content flooding the market, the challenge is reaching audiences in meaningful ways,' she says. Poor Things is the movie that she wishes she'd produced — a 'bold, singular visual universe,' she calls it. Her advice for women breaking in: 'Trust yourself — but constantly question your work to improve it.' President, Jio Studios (INDIA) A veteran of India's media industry, Deshpande has turned Jio Studios into a content colossus, backing more than 150 films and series in multiple languages. In 2023, Jio delivered nearly half of India's Hindi box office and more than 100 awards — including best film honors at the Bollywood Oscars for Laapataa Ladies. Her proudest moment? Watching three young actresses launched by her studio win major accolades. 'Pratibha Ranta and Nitanshi Goel won accolades for Laapataa Ladies and Janki Bodiwala won for her performance in Shaitaan.' A onetime Viacom18 CEO, Deshpande says the biggest challenge today is 'stagnant market size' — and the rising cost of content creation. Her advice: 'Believe in your talent, be outcome-oriented and remember, biggest isn't always best.' President, Spin Master Entertainment (CANADA) Dodge has helped turn Canadian kids brands into global screen franchises — most notably PAW Patrol, now a billion-dollar behemoth spanning TV, toys and theatrical. Dodge also co-created the preschool hit Little Charmers and is overseeing a live-action adaptation of the game Bakugan. 'It became an iterative process between toy designers and animation designers working together,' she's said of bridging play and storytelling. Few execs are more fluent in the language of kids' entertainment — or better at building entire worlds from it. CEO, Gaumont (FRANCE) As CEO of the world's oldest film studio, Dumas has to balance history with reinvention. Under her watch, Gaumont expanded globally while doubling down on high-end TV (Narcos, Lupin) and indie features like Night Call and Dalloway. Her proudest moment? Receiving the International Emmy Directorate Award. 'Financing important independent films is our biggest challenge,' she says. Her advice to the next generation: 'Patience — and maintain your passion and determination.' Producer, Vyjayanthi Movies (SPAIN) Born into Telugu cinema royalty — and with UCLA film school cred — Dutt is now writing her own script at Vyjayanthi Movies. She co-produced her first feature at age 20 and helped reinvigorate the family banner alongside sister Swapna Dutt with critical and commercial juggernauts like Mahanati and the sci-fi epic Kalki 2898 AD. She's also pushing into the streaming space, producing the Amazon series Kumari Srimathi. Founder, Mer Film (NORWAY) Ekerhovd is one of Scandinavia's most prolific producers. She's behind Sentimental Value, Joachim Trier's latest Cannes contender, and heads a program nurturing the next wave of Nordic filmmakers. Her first big break came producing Sniffer, which won the Palme d'Or for best short. She says the biggest challenge currently facing the international film industry is the 'unpredictable' global situation. 'In times like these, we need art more than ever,' she says, 'and we need to fight to bring it to audiences. I believe in film as a collective art form that we experience together in cinemas.' Head of U.K. & Northern Europe Originals, Amazon MGM (U.K.) Since taking over as head of her department in 2023, Erer has built a young audience from the ground up. Her slate spans breakout unscripted series (Molly-Mae, Clarkson's Farm) to buzzy features (My Fault London), and she's behind the £10 million ($13.3 million) Prime Video Pathway to upskill and diversify Britain's production base. Her advice? 'Be open to ideas you never thought of — you never know what you're missing.' CEO, Carrousel Studios (FRANCE) With stints at Wild Bunch, Gaumont and Anton Capital, Gaget is no stranger to cross-border deals — she's worked on everything from Olivier Nakache's quadriplegic drama The Intouchables to Gerard Butler's disaster flick Greenland. Now CEO of Carrousel Studios, the new Euro-indie outfit launched by Omar Sy, Louis Leterrier and Thomas Benski, she's aiming to flip the Hollywood production model on its head by giving creatives real IP ownership. Gaget's deep equity ties and market fluency make her one of Europe's most connected film financiers. 'Talent is just the starting point,' she says. 'What really moves the needle is showing up every day, putting in the effort and staying committed even when the spotlight isn't on you.' Co-founder, Eye Eye Pictures (NORWAY) After producing Joachim Trier's Oscar-nominated The Worst Person in the World, Graver launched Eye Eye Pictures to focus on daring first-time filmmakers. Her latest releases: Armand, which took the Camera d'Or in Cannes, and A Prayer for the Dying, a Western starring John C. Reilly. She's also co-producing Ruben Östlund's The Entertainment System Is Down. 'Be well prepared and follow your gut,' she advises. 'If problems hit when the foundation is wobbly, it's probably not a journey worth taking.' Co-president, Film Forge (CANADA) Harnisch has quietly become one of Canada's most trusted indie producers, with credits including Sleeping Giant, White Lie and Brandon Cronenberg's Infinity Pool. This year, she premiered Shook at TIFF — a 'sexy, funny, poignant warm hug of an indie,' she says. An assistant professor at Toronto Metropolitan University, Harnisch sees the biggest challenge today as the crumbling path to financing. 'You are enough as you are,' she tells young women. 'Find mentors who see that in you.' Co-founder, Neal Street Productions (U.K.) The Oscar, BAFTA and Golden Globe winner doesn't just co-run Neal Street Productions with director Sam Mendes — she's helping shape British cinema from the top down. From 1917 to Call the Midwife, she's moved between prestige film and hit TV without breaking stride. Her proudest moment? Landing The Beatles' approval for those four upcoming moptop biopics Mendes will be shooting. 'Start in the world you want to stay in,' she advises. 'Breaking into art house is just as hard as daytime TV — so don't start in the wrong place.' Producer (IRAN) Hendijanian helped bring Mohammad Rasoulof's Cannes contender The Seed of the Sacred Fig to the screen — and to an Oscar nomination, 'an incredibly emotional and proud moment' — under near impossible conditions. The film, a blistering political allegory, is the latest in her long collaboration with Rasoulof (Goodbye, A Man of Integrity). 'The journey was long and full of risks,' she recalls. 'It truly felt like a miracle that we completed it.' Chair, BFI (U.K.) Before she was shaping global programming at Apple TV+ and chairing the British Film Institute, Hunt was the gatekeeper of British television's golden age. As controller of BBC One, she commissioned Sherlock and Luther, two of Britain's biggest hits of the past two decades. Later, at Channel 4, she greenlit Derry Girls and First Dates and brought Formula 1 to the airwaves. Nowadays, at Apple, she oversees acclaimed titles like Bad Sisters and Slow Horses. Head of Films, Fabula (CHILE) As head of Spanish-language features at Chile's Fabula, Jadue has produced some of the region's most acclaimed films, including the Oscar-winning A Fantastic Woman. Her 2024 slate was just as formidable, with Pablo Larraín's El Conde and Maite Alberdi's The Eternal Memory both earning Academy nods. She also wrapped Chile's first musical — a passion project five years in the making with Sebastián Lelio. 'Learn every part of the process,' she advises, 'and don't rely only on passion — build real knowledge.' Co-CEO, Wild Bunch (FRANCE) The Wild Bunch co-CEO has helped steer the French indie giant through pandemic-era turbulence with nimble pan-European maneuvering. Under her watch, the company distributed such festival firepower as The Boy and the Heron and Memoir of a Snail. Undoubtedly like a lot of people on this list, the one film she wishes she'd produced was the best picture winner Anora, which 'feels completely in sync with our DNA — bold, distinctive and emotionally resonant.' The former Canal+ exec sees her job as a balancing act: staying agile while facing 'constant market shifts.' Co-founder, Red Chillies Entertainment (INDIA) As co-founder of Red Chillies Entertainment alongside international global superstar Shah Rukh Khan (aka her husband), Gauri Khan helped turn Bollywood fame into a business empire. She has produced major hits like Om Shanti Om, Chennai Express and Happy New Year — all starring her husband — and expanded the banner into VFX, distribution and streaming partnerships with Netflix. Her behind-the-scenes savvy has helped transform Red Chillies into one of India's most globally recognized film companies. VP Content, APAC (Excluding India), Netflix (SOUTH KOREA) As Netflix's vp content across Asia (excluding India), Kim is the force behind Squid Game and its record-breaking sequel — plus a booming K-content pipeline that now reaches over 80 percent of Netflix's global audience. 'We're seeing huge demand for local stories with global themes,' she says, pointing to hits like Kill Boksoon and Culinary Class Wars. Kim also is helping build the next generation of talent through training and workshops. Her advice: 'Make choices that make you proud to be you.' President, Cannes Film Festival (FRANCE) When Knobloch became the Cannes Film Festival's first female president in 2023, it felt overdue. Her Warner Bros. tenure gave her the chops, and she's since helped Cannes ride a critical and commercial hot streak: Anora won both the Palme d'Or and Oscar, while The Substance netted a rare best director nom for a woman. 'Cinema never retreats,' she says. 'It evolves with its time.' Her one line of advice for women in the business? 'Trust your instinct.' Co-founder, Le Pacte (FRANCE) Labadie's distribution company has had a banner year with Sean Baker's Anora, which won both the Palme d'Or and the Oscar for best picture. 'Moving, funny, clever — and unlike anything else,' she says of the film. Her biggest concern at the moment? Cultural protectionism. 'The Trump administration represents a great danger for European independent film,' she warns, citing ongoing tensions around trade and streaming regulation. Her advice to young women in film: Embrace the grind. 'It's a true industry, with real challenges,' she notes. 'But it's also filled with rewards.' Vice Chairwoman, CJ Entertainment (SOUTH KOREA) Often called Asia's most powerful media mogul, Lee helped put Korean cinema on the world map — and onto the Oscar stage. As vice chair of CJ ENM, she backed Parasite, invested $100 million in Skydance and bought majority control of Fifth Season. Now she's focused on making theatrical releases feel special again. 'Film thrives on openness,' she says, pushing for global stories told at scale. Her advice: 'Be proactive, build real connections and lift others as you rise.' Founder, Big Bowl Entertainment (CHINA) After becoming the highest-grossing female filmmaker in the world with 2021's time-travel comedy Hi, Mom, one of the biggest hits in Chinese cinematic history ($822 million), the comedian turned director did it again in 2024, or at least came close, with her female boxer comedy Yolo ($484.5 million). Her blend of heart and humor, often rooted in personal transformation, has struck a nerve with Chinese audiences and made every Jia release a national event. Not bad for someone who started in xiangsheng, China's version of stand-up. CEO, StudioCanal (FRANCE) In 2024, Marsh delivered the company's biggest box office year ever, with Back to Black, We Live in Time and Paddington in Peru (yes, that one made money, especially overseas). Then came the promotion: chief content officer of parent company Canal+ Group. With Canal+ now publicly traded, Marsh is steering a high-stakes expansion push, including investments in MultiChoice (Africa) and Viu (Asia), plus an ambitious genre label, Sixth Dimension. Few execs are playing at her level — or on as many continents. Head of Local Originals, Southern Europe, Amazon MGM (ITALY) Amazon's top content exec in Southern Europe, Morganti oversees originals across Italy, France and Spain. Her biggest recent success: Culpa Tuya, the teen romance sequel that became Amazon's most watched international original film ever. Her roots are in unscripted — she helped launch X Factor and MasterChef in Italy — but her current slate includes genre thrillers and action comedies. 'There's always space to learn more and become better,' she says. Her career high point? In 2024, when she watched 6,000 fans at the Palacio Vistalegre Arena cheering for the premiere screening of the second chapter of Amazon's teen romance franchise Culpa Tuya like it was a rock concert. CEO, Lemming Film (NETHERLANDS) Petit is a champion of bold, offbeat cinema. Her surreal drama Mr. K, starring Crispin Glover, premiered in Toronto's main competition — a career high for the Dutch producer. 'Too many choices are driven by fear,' she says. 'That makes films feel monotonous and interchangeable.' Petit is pushing for stories that take risks and voices that challenge the norm. Her advice: 'Set ambitious goals and build a network grounded in creative respect. It's not about speed — it's about substance.' CEO, Extreme Emotions (POLAND) Puszczynska's name has become synonymous with emotionally harrowing, historically resonant cinema. She produced Ida and The Zone of Interest, both Oscar winners, and A Real Pain, Jesse Eisenberg's Sundance hit. But her ambitions extend far beyond Holocaust narratives. Her 2024 slate includes the jazz-soaked Köln 75, the genre-bending Minotaur Rex and two debut features from women directors. 'Instead of just talking about gender inequality,' she says, 'we women producers should act.' Co-CEO, House Productions (U.K.) Ross had a monster year, with Conclave and Bird scoring BAFTA nominations and The Zone of Interest, which she exec produced, cleaning up at the Oscars. But now that she's sitting on top of the heap, the view has obviously left her contemplative, and she has lots of questions about the future. 'How do we understand the viewing habits of the next generation? How do we understand and use and not abuse AI? How do we ensure that risk-taking work continues? How do we allow a broad set of tastes to thrive in a consolidated world? How does everybody earn enough to work in film, and not some earn hugely while others don't earn at all?' VP Content, India, Netflix (INDIA) Shergill has helped redefine Indian streaming, greenlighting hits like Delhi Crime and Amar Singh Chamkila. A former journalist and documentary filmmaker, Shergill says 2024 was 'the year Indian stories truly broke through,' becoming cultural moments far beyond the screen. 'Take Heeramandi, for instance — it's not just a show, it became a visual and cultural moment,' she says. 'It sparked a wave of creativity on social media, fan art and commentary that went far beyond just viewership.' Her advice to young women: 'Trust your voice. Stay curious. Your stories can offer fresh insights.' Producer, Akaba (FRANCE) Schermann's proudest moment of 2024? Easy question. That would be watching Cannes audiences erupt for Emilia Pérez, her latest collaboration with Jacques Audiard. 'People were so happy. The film was so beautiful,' she says. A longtime champion of visionary auteurs, Schermann stresses the importance of resilience — especially for women in the industry. 'We have to be twice as strong to be heard, which is tiring. So don't give up.' Her greatest fear? A world where authors are silenced. 'Freedom of expression is the single most important thing.' CEO, Haut et Court (FRANCE) From Ma Vie en Rose to The Class to Santosh, Scotta has built Haut et Court into a powerhouse of high-art, high-emotion cinema. She co-founded The Creatives, a pan-European alliance for indies, and recently started production on Sukkwan Island, a decade-in-the-making co-pro. Her mantra: 'Less is more.' Scotta warns of rising threats to Europe's film ecosystem — from Trump-era protectionism to a market obsessed with short-term performance. 'Robustness is the only way to stay sustainable.' Co-founder of China's Distribution Workshop (HONG KONG/CHINA) A legend in Chinese cinema, Shi co-founded Film Workshop in 1984 and produced genre-defining classics like A Better Tomorrow and Once Upon a Time in China. She later launched Distribution Workshop to bring Chinese titles to the world. Still active as a producer, Shi received a lifetime achievement award at the 2024 Hong Kong Film Awards. CEO, Nordisk Film (DENMARK) Vogelsang had a career high with The Girl With the Needle, which earned Oscar and Cannes buzz in 2024 ('an unforgettable moment'). She began as an intern at Lars von Trier's production company Zentropa ('an unpaid position') before rising through Denmark's public broadcaster DR, where she worked on early hits like Taxa. 'The cinema model is under pressure,' she says. 'We need new ways forward — and compelling storytelling to help us emotionally make sense of the times.' Her advice for young filmmakers: 'Be the voice of your generation — and tell me how I can help make the industry ready for you to take over, because you will!' CEO, Frakas (BELGIUM) From intern to CEO of Frakas, Warnauts has had a front-row seat to Belgium's rise in global co-productions. She backed Cannes winner Titane and this year reteams with director Julia Ducournau on Alpha. At Toronto, she produced Bring Them Down with Barry Keoghan. Her proudest moments? Pairing local talents with foreign auteurs and watching the sparks fly. 'Emerging voices — writers, technicians, even 40-year-old actresses overlooked by the system — need to be heard,' she says. 'That's where real diversity starts.' Head of Production, Working Title (U.K.) Is Sarah-Jane Wright the hardest-working woman in British film? The evidence is persuasive. In a career that stretches back three decades, the Working Title executive has been quietly instrumental in delivering some of the U.K.'s most iconic modern cinema. Pride & Prejudice, Love Actually, Tinker Tailor Soldier Spy, Les Misérables, Baby Driver — her name is on all of them, even if the spotlight rarely is. She began, humbly, as a runner at Fugitive Features in 1993. But by 2014, she was overseeing Oscar campaigns for the Stephen Hawking biopic The Theory of Everything and by 2024 was onstage at Cannes with The Substance, Coralie Fargeat's subversive body-horror thriller. 'I worked very intimately with that film,' she says. 'Coralie is an absolute force of energy, and I was in awe of Demi Moore every day on set.' That film, a surreal and bloody takedown of beauty culture, would go on to win major festival hardware — and introduce a new generation to an underloved genre. The same year, Wright also helped bring Bridget Jones: Mad About the Boy to the screen, the tearjerking swan song for Renée Zellweger's lovably messy singleton. The fourth installment in the franchise — and Wright's fourth Bridget film — grossed more than $130 million globally and scored some of the strongest reviews in the series. 'Renée and I are the same age,' Wright says. 'It's been wonderful to grow up with her.' That kind of long-haul collaboration is one of Wright's defining traits. She's also navigated big-budget prestige dramas (Darkest Hour), tricky biopics (Mary Queen of Scots), musical crowd-pleasers (Yesterday) and has remained a key figure in Working Title's ongoing evolution under Tim Bevan and Eric Fellner. Through it all, she's stayed focused on the work. 'Don't be afraid to be ambitious,' she advises young women entering the business. 'Speak up, be prepared to work incredibly hard and never forget that your perspective as a woman is valued and unique.' For Wright, the future of British film lies in boldness — not just in content but in conviction. Whether it's rebooting a beloved franchise or diving headfirst into genre terrain, she remains committed to storytelling that resonates both locally and globally. 'Every challenge is a catalyst for fresh creativity,' Wright says. 'It's an invitation to collaborate with new talent and reimagine our beloved stories.' — Lily Ford Director, BBC Film (U.K.) Yates has very quietly, very Britishly, overseen some of the U.K.'s most exciting recent cinema, from Aftersun to Rye Lane to Santosh, the country's Oscar submission. With two Cannes titles (Urchin, My Father's Shadow) on the horizon, she is building a slate that blends credibility with emotional punch. Her philosophy: 'Set your quality bar high — and hold it.' CEO, Wanda Film (CHINA) A powerhouse producer and founder of Beijing-based Heyi Pictures, Chen has backed some of China's most successful mainstream comedies, including Hello Mr. Billionaire and Goodbye Mr. Loser. But she's no genre snob — she also co-produced Lou Ye's Cannes black-and-white espionage drama Saturday Fiction, starring Gong Li. With a sharp eye for both commercial appeal and artistic ambition, Chen is part of a new wave of female producers reshaping the Chinese film industry from within. This story appeared in the May 7 issue of The Hollywood Reporter magazine. Click here to subscribe. Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire
India Today
26-04-2025
- Entertainment
- India Today
Bullet Train Explosion review: Spiritual sequel that combines heart and heat
Strangers board a train—different faces, different backgrounds, different priorities. For a brief moment in time, they are united by a shared goal: to reach their destination. But what happens when that journey is hijacked—literally—and every second becomes a fight for survival? Who rises? Who leads? Who becomes a hero?At first glance, this might sound like the premise of a typical hostage thriller. You may even recall 1975's The Bullet Train, the Japanese classic that inspired India's The Burning Train featuring Dharmendra, Jitendra and Vinod Khanna among others. But Bullet Train Explosion, now streaming on Netflix, is no mere remake. Directed by Shinji Higuchi (Shin Godzilla), this is a spiritual successor that reimagines the genre with restraint, humanity, and tension as sharp as a the trailer of Bullet Train Explosion here: Rather than focusing solely on the perpetrator's motive—as the original did, steeped in socio-economic despair—this iteration shifts the lens to those on board. It's a powerful, pulse-pounding tribute to Japan's everyday heroes: the railway technicians, engineers, and staff who bear the enormous responsibility of passenger safety without ever seeking the premise remains simple yet suffocating: the Hayabusa No. 60 Shinkansen has been rigged with a bomb that will detonate if its speed drops below 100 km/h. There are no martial arts showdowns la Kill, and very little action in the conventional sense. Yet the film grips you tightly, driven by the claustrophobic intensity inside the train and the relentless ticking of camera mimics the rhythm of the train itself—restless, urgent, and always moving. Long takes within tight carriages and sweeping shots of serene countryside create a haunting juxtaposition: the chaos within versus the calmness production design, executed in collaboration with the East Japan Railway Company, deserves special mention. It grounds the film in reality without ever veering into documentary territory, achieving that elusive blend of authenticity and cinematic the film's emotional core is Tsuyoshi Kusanagi as Kazuya Takaichi, a veteran Shinkansen official whose quiet dedication anchors the entire narrative. There's no bravado in his portrayal—just steadfast professionalism, silent resolve, and a deeply felt sense of duty. When disaster looms, he doesn't panic. He calculates. He leads. He cares. Kusanagi's performance is wonderfully restrained and profoundly human—every glance and exhale calibrated to communicate urgency without Toyoshima stands out as the troubled teenager Yuzuki Onodera, whose character serves as a thematic bridge to the original Bullet Train. Her arc adds emotional depth without derailing the narrative's screenplay, while occasionally meandering, quickly regains its rhythm and never loses the sense of impending doom. There's no need for bombastic monologues or overdone sentimentality—the film's emotional power comes from its subtlety. The stakes are crystal clear, and the audience feels them what creates the bumps in the smooth ride is the VFX, that needed to be better for a seamless look. It looks like animation on budget, and to be fair, it looked Train Explosion isn't just a high-speed thriller—it's a film about integrity, duty, and the resilience of ordinary people under extraordinary pressure. The tension is meticulous, the emotions are genuine, and the story honours the unsung guardians of public this one not just for the thrill, but for the quiet courage it celebrates.3.5 out of 5 stars.
