Movie review - Speed Train

Speed Train **1/2 (out of 5) It’s been just over 30 years since Sandra Bullock and Keanu Reeves found themselves trapped in a bus that couldn’t go slower than 55 without going BOOM! in the original Speed. Since then, there’ve been a ton of movies based on comparable perils in every sort of public transportation vehicle, with the possible exceptions of pedicabs and rickshaws. The title here tells you most of what to expect.

In a high-tech near future, featuring rapid rail transit and brain implants that can enhance all sorts of learning and functions, we meet a bunch of people in a mostly talky first half hour. One car on its maiden voyage contains shackled violent prisoners being shipped to the death chamber. The rest are the usual assortment of random civilians, with focus on a pair of cheerleading coaches and their two captains heading for a big competition. Unbeknownst to all is that Louis Mandylor’s character designed much of that tech, but got shafted on the many millions he should have received. He’s set up a high-priced pay-to-play game, in which rich jerks can remotely control the body of a freed prisoner to fight or kill anyone in their path. He’s also taken command of the train, speeding it up to Doomsday velocity as it crosses the country.

The degree of harm the cons and their controllers do is surprisingly limited by unexpected fighting skills among the regular passengers – especially the cheer coach who is ex-military (Scout Taylor-Compton) and an Interpol agent with family problems. The players aren’t all that interesting, but the action is first-rate. Plenty of hand-to-hand mayhem and bloodshed. Mandylor is a hard sell as a Lex Luthor-level genius, but he does well showing the deranged evil side of his character.

A side note you may also find interesting. I grew curious after seeing Louis in a lot of films lately. He’s a year younger than his brother, Costas. Both have around 170 screen credits, and 17 or 18 awards and nominations for their work. Costas has more total screen time, since one of his credits was for 88 episodes of the fine TV series Picket Fences. Louis’ resume includes more off-screen activity, with 13 gigs as director and 16 as a producer. Their family gatherings must a hoot of (I hope) friendly competition.

The performances are competent. Production values are laudable, with appealing sets and graphics keeping the confined setting from feeling claustrophobic. The script falls short on developing personalities for empathy, and has a few plot holes, but delivers on brisk pace and well-staged action once that phase begins. For mindless escapism, it’s a reasonable time investment.

(Speed Train is in theaters and available On Demand as of 12/5/25)