Boarding the Unknown: Last Train to New York’s Zombie Secret

Bold breath, stifled scream — imagine stepping onto a New York-bound subway as the world collapses, only to realize this ride runs parallel to Busan’s nightmare. That’s the electric tension behind The Last Train to New York, a film that promises an American mirror to a South Korean masterpiece — and yet, it’s been trapped in the station.

Less than halfway through 2025, the film remains off Warner Bros.’ docket — indefinitely delayed. Even director Timo Tjahjanto admits, “I’ve been ready since 2020, but when a film is stalled, that’s not up to the director.” It’s a confession coated in frustration: the engine is primed, but the tracks vanish beneath us.

Tracks of Expectation

From Train to Busan’s explosive success — $98M+ worldwide, critical praise, cultural heft — to its sequel Peninsula, the stakes are sky-high.

James Wan’s Atomic Monster and Gary Dauberman pledged to “not f— it up” geek-network.com+10ew.com+10movieinsider.com+10, yet the project hovers in limbo. Is Hollywood’s hesitation about creative respect, box office risk, or fear of diluting a cherished story?

Parallel or Echo?

New York’s subway lacks Busan’s symbolic weight — a refuge born from Korean War memory. Will this version root itself in American history, or will it skim on depth to lean on scares? One Reddit user wondered whether an immigrant family from Busan could bring cultural heartbeat to the chaos: “They could make a storyline where a Korean family moves to New York from Busan.” The potential is tantalizing — but does the script dare to claim it?

Frozen in the Station

Industry whispers point to studio reshuffling: in 2022, Last Train was erased in favor of Evil Dead Rise.

Yet amid silence, Tjahjanto’s words echo loudest — he’s ready, but power lies elsewhere. Do the delays signal protecting the legacy… or shelving it forever?

Perhaps the greatest question here isn’t whether the film will launch but why it’s been allowed to idle. Is creative caution at play? Risk aversion? A pandemic hangover? Or a deeper reluctance to translate horror that carries meaning, not just spectacle?