Stop! That! Train! kicks off a summer of fun blockbusters, and this movie is a hilarious delight. The film arrives like a blast from a different cinematic age. In 2026, comedies are hard to pull off, and cultural sensibilities are more divided than they have ever been, but this film makes it impossible not to laugh. Directed by Adam Shankman, this gleefully chaotic comedy embraces absurdity with both arms and barrels down the tracks at full speed, delivering a rapid-fire barrage of jokes, visual gags, celebrity cameos and outrageous set pieces. From start to finish, I was immersed and appreciated how committed this movie was to being wholeheartedly ridiculous.
From its opening, Stop! That! Train! establishes itself as a loving throwback to the great spoof comedies of the late twentieth century. The DNA of Airplane! and its sequel can be felt throughout the film, not because it lazily imitates them, but because it shares their philosophy. Like those classics, the film thrives on relentless joke density, deadpan deliveries, visual non-sequiters, and the willingness to sacrifice realism in pursuit of the next laugh. The script moves at such a breakneck pace that if one joke doesn’t land, another is already arriving seconds later. The result is a comedy that feels refreshingly unconcerned with prestige and entirely focused on entertainment.
The casting choices were 10/10; Ginger Minj and Jujubee anchor the film with an easy chemistry that keeps the madness grounded. Their friendship provides the emotional core that allows the movie’s increasingly outrageous scenarios to remain engaging. But the film’s greatest strength is its remarkable collection of cameos. The film is packed with recognizable faces, many of whom were willing to poke fun at themselves. Sarah Michelle Geller, Jesse Tyler Ferguson, Nicole Richie, Missi Pyle, and several other surprise appearances inject the movie with additional energy whenever they arrive on screen.
Directing comedy is not an easy job. Timing, pacing and tone require a delicate balance. Shankman, however, demonstrates a strong understanding of all three. He keeps the film moving at an impressive pace while allowing the performers enough room to create memorable comedic moments. He leads into every crazy scenario and trusts the audience to go along for the ride. Even when the film ventures into territory that should really just collapse under its own absurdity, it remains consistently entertaining because his direction never wavers.
What makes Stop! That! Train! so enjoyable is its sense of joy. It is so obvious that every single person wanted to be involved with this project. Whether it’s a bizarre visual gag or an unnecessary musical number, the film operates with an infectious spirit that is impossible to resist. That said, there is one aspect of the film that deserves serious criticism: the controversy surrounding the apparent use of AI in certain visual elements and effects. Even if one accepts the filmmakers’ explanations regarding the extent of AI involvement, the discussion itself highlights a growing concern within the industry.
Comedy has always been one of the most human forms of artistic expression. Great comedy emerges from its performers, writers, editors, designers, and the entire team collaborating to create something unique. When audiences begin questioning whether portions of the film were generated or enhanced through AI shortcuts, it undermines confidence in that creative process and breaks trust.
As much as I love this film and consider it one of the year’s most entertaining comedies, it is also stained with deceit towards its audiences. To use AI in a film is lazy and unnecessary. Millions of great films have been made without it, and Stop! That! Train! would have succeeded without it. Nonetheless, Adam Shankman delivers a crowd-pleasing romp that recaptures some of the anarchic energy of Airplane! and its sequel while carving out its own identity. For audiences willing to embrace the absurd, this train is absolutely worth boarding.
Stop! That! Train! is available in theatres now.
