★★★1/2 Actually, the score is a bit of a lie. This is the story of a guy with bad luck: a man of action (criminal) who has an easy assignment. Take the Tokyo-Kyoto bullet train, get a briefcase full of silver and get off. But it turns out that the briefcase is wanted by many people, the train is full of murderers, and on top of that there is a revenge plan underway that our (poor) man does not understand why he touches him. All of this is actually an excuse for David Leitch, more of a choreographer than a filmmaker (and what’s wrong with it, wasn’t Busby Berkeley the same?) to generate endless original action scenes, bloody fights that generally move to laughter and that transform the whole into something different from a “black” film: gentlemen, we are facing a full-fledged cartoon where, unlike Looney Tunes, people die (although there is a corpse that lasts the entire film , or something like that). That is to say: the story of the film does not have too many edges and the fact that it is everything between bad and worse allows us the voluntary suspension of morality and credulity to enjoy a totally cathartic and vertiginous show, comic in general (what of Pitt is brilliant, but there are other characters who are up to par and even above). It is about that, neither more nor less: cinema considered abstract art, pure form, game. You may like it or not, but it is also a noble possibility for art.