‘Stop! That! Train!’ Review: RuPaul Presides Over an Irreverent, Appealing Disaster-Movie Parody
The tale of two heroic stewardesses who team up with RuPaul Charles, the President of the United States, to stop a train on a collision course with a once-a-century weather event, “Stop! That! Train!…
The tale of two heroic stewardesses who team up with RuPaul Charles, the President of the United States, to stop a train on a collision course with a
Read Full Story at Variety →Why This Matters
The film’s absurd premise—a train vs. apocalyptic weather showdown—arrives at a cultural moment where disaster cinema is either leaning into nihilism or outright satire. RuPaul’s casting as a no-nonsense commander-in-chief reframes the genre’s traditional machismo, offering a sharp critique of institutional authority while delivering crowd-pleasing camp. In an era of real-world climate anxiety, the movie’s irreverence feels less like escapism and more like a necessary pressure valve.
Background Context
Disaster films have long mirrored societal fears, from Cold War-era nuclear threats to post-9/11 terrorism. The genre’s resurgence in recent years—amplified by streaming platforms—has coincided with a cultural appetite for exaggerated crises, whether in *Don’t Look Up* or *Moonfall*. Meanwhile, RuPaul’s political cameos in pop culture (*A Star Is Born*, *Broad City*) have steadily eroded the boundaries between drag performance and mainstream authority figures, setting the stage for this role.
What Happens Next
If the film performs well, it could signal a shift toward more LGBTQ+ leads in high-concept genre films, challenging the long-held assumption that disaster narratives require straight, hyper-masculine heroes. Studios may double down on absurdist pairings, blending social commentary with spectacle. The bigger question: Can RuPaul’s star power translate to box-office dominance, or will the film remain a cult hit that reinforces niche appeal?
Bigger Picture
The movie taps into a broader trend of "so bad it’s good" cinema gaining critical respect, from *The Room* to *Sharknado*. It also reflects a growing mainstream comfort with queer narratives in traditionally straight-dominated genres, mirroring shifts in TV (*Our Flag Means Death*, *The Last of Us*). Ultimately, its success may hinge on whether audiences embrace RuPaul’s gravitas in a role that demands both comedy and crisis management.
