Train to Busan Presents Peninsula

Train to Busan presents Peninsula is a sometimes fun, always serviceable zombie flick for fans of the genre
77/1001566
Starring
Gang Dong-won, Nazeeh Tarsha, Lee Re
Director
Yeon Sang-ho
Rating
TV-MA
Genre
Action, Horror, Thriller, Zombie
Release date
Aug 7, 2020
Where to watch
Netflix
Overall Score
Rating Overview
Story/Plot/Script
Visuals/Cinematography
Performance
Direction
Non-Wokeness
Rating Summary
Taking its cue from 28 Days Later, Peninsula's fast-moving zombies don't redefine the sub-genre, but by splashing in a touch of Escape from New York, Tokyo Drift, and even hints of Fury Road, this sequel to Train to Busan is a decent enough diversion.
Audience Woke Score
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Four years after the zombie outbreak in Train to Busan, the Korean peninsula is a desolate wasteland. Jung-seok, a former soldier, joins a team tasked with returning to the peninsula to retrieve a truck filled with American cash. They discover that survivors, including a rogue militia and a family fighting to escape, are struggling against zombie hordes. As the team navigates the dangerous landscape, they face betrayal, zombie attacks, and moral dilemmas, all while racing against time to secure the money and escape to a ship waiting offshore.

Train to Busan presents Peninsula Review

The technical quality of Peninsula’s effects doesn’t quite meet American big box office standards. Still, their fun (if physically impossible) application in the film’s grander action set pieces largely makes up for the deficiency. Which is good, because the fight scenes are uninspired, and the story stalls completely throughout the entire second act.

As a piece of zombie-horror fluff, it’ll tide you over until 28 Years Later hits theaters.

WOKE REPORT

The U.N.
  • Spoiler
    The U.N. sends rescuers at the end. Thinking that the U.N. does any good anywhere in any capacity is woke. Also, the rescuer is a three-foot-tall, overweight woman.

 

James Carrick

James Carrick is a passionate film enthusiast with a degree in theater and philosophy. James approaches dramatic criticism from a philosophic foundation grounded in aesthetics and ethics, offering insight and analysis that reveals layers of cinematic narrative with a touch of irreverence and a dash of snark.

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