Stop! That! Train! Film Review: A Camp-Fuelled Ride Packed With Chaos, Comedy, and Pure Entertainment Starring RuPaul, Ginger Minj, and Jujubee

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There’s something undeniably infectious about a film that knows exactly what it wants to be, and Stop! That! Train!, with RuPaul leading the cast, wastes no time in establishing itself as a bold, camp-filled spectacle that thrives on chaos, comedy, and charisma. Directed by Adam Shankman (Hairspray, Disenchanted, Rock of Ages) and written by Christina Friel and Connor Wright, the film is produced by World of Wonder Productions, Bleecker Street Media, Unapologetic Projects, and Universal Pictures Content Group.

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With Bleecker Street Cinema overseeing its theatrical release across the United States and Canada, Stop! That! Train! premiered on June 12, 2026, while Universal Pictures Content Group oversaw its release in Puerto Rico on June 18, 2026. It now continues its international rollout ahead of its UK cinema debut on August 21, 2026.

At its core, Stop! That! Train! thrives on a concept that feels both outlandish and oddly plausible, blending disaster-movie stakes with a sharp comedic edge. Framed around its “stormaganza” premise, Stop! That! Train! taps into increasingly unpredictable global weather patterns as a backdrop for its chaos, giving the narrative a heightened sense of urgency beneath the humour. It’s a tonal balancing act that the film embraces from the outset, inviting audiences to lean into the absurdity while still recognising the scale of what’s at stake.

That sense of escalating chaos is anchored within the glamorous setting of the Glamazonian Express, where the narrative begins to take shape. As the situation intensifies, Stop! That! Train! moves from concept into action, placing its central figures at the heart of an unfolding disaster that grows increasingly unpredictable. From here, the story finds its rhythm through a fast-moving sequence of events, allowing the film’s humour and momentum to build naturally.

At the centre of it all, Jujubee and Ginger Minj, playing DeeDee and Tess respectively, are an absolute delight. Their friendship chemistry anchors Stop! That! Train!, bringing warmth, humour, and a sense of relatability that keeps the audience invested throughout. They balance comedic timing with character-driven moments, proving themselves to be more than capable of leading a feature-length production. Their dynamic feels natural and engaging, making them the perfect guides through the film’s increasingly wild sequence of events.

As the story progresses, the film leans into the classic beats of a comedy-action with a clear disaster-movie influence, layering tension, absurdity, and humour in equal measure. Twists and turns arrive at a steady pace, ensuring the momentum never dips, while the confined setting of the train adds a sense of immediacy that keeps the stakes feeling personal. Despite its larger-than-life tone, the screenplay—crafted by Christina Friel and Connor Wright—maintains a sense of structure that allows each moment to build naturally on the last, creating a narrative that feels cohesive rather than chaotic.

The supporting cast only amplifies the film’s energy. Brooke Lynn Hytes, Marty Lauter, and Symone form a standout trio that channels unmistakable early-2000s “mean girl” energy, reminiscent of classics like Mean Girls and The DUFF, adding an extra layer of nostalgic fun. Meanwhile, the train’s eclectic mix of passengers—from Lisa Rinna and Nicole Richie to Mayan Lopez and June Diane Raphael—ensures that nearly every scene introduces a new comedic beat or memorable interaction.

One of the film’s most iconic highlights comes courtesy of Sarah Michelle Gellar, who delivers a brilliantly self-aware performance as a famous actress who somehow goes completely unrecognised. More than just “a mere prinze”—a deep-cut Drag Race nod for the fans—she leans fully into the role, creating a character that is both humorous and memorably absurd. In one particularly standout moment, June Diane Raphael’s character is watching a scene from I Know What You Did Last Summer on her screen and doesn’t recognise Sarah Michelle Gellar, who is sitting next to her—a gag that lands perfectly and stands out as one of the film’s most clever and comedic sequences.

Then there’s RuPaul Charles as President Judy Gagwell, a role that feels tailor-made for her commanding presence. RuPaul dominates every scene she appears in, exuding confidence, authority, and undeniable star power. As the undisputed queen of drag, she brings a level of experience and charisma that translates effortlessly on screen, delivering a performance that feels both commanding and celebratory. Often regarded as “Mother” within the community, her presence carries a sense of self-worth and empowerment that radiates throughout Stop! That! Train!. It’s a performance that not only adds to the film’s humour but also reinforces why she remains such an influential and celebrated figure—her presence alone elevates the film’s already vibrant tone.

True to its roots, Stop! That! Train! leans heavily into drag culture, delivering lip-sync moments, high-camp performances, and a treasure trove of references for fans. From visual callbacks—such as Sasha Velour’s cascade of red petals moment—to well-known catchphrases and even memorable quotes—including a nod to Bimini Bon Boulash’s iconic “The nipples are the eyes of the face”—the film feels like an extended celebration of RuPaul’s Drag Race. In many ways, it plays like a Main Challenge taken to the next level, expanding the format into a full cinematic experience while still retaining everything fans love about the show.

Rachel Bloom delivers one of the film’s most grounded performances as Donna Dusk, a no-nonsense professional based in the train’s control centre rather than aboard the Glamazonian Express. Acting as a vital communications link, she guides the train driver as well as Tess and DeeDee via headset, helping them navigate track decisions and respond to the escalating threat of the Stormaganza. Positioned at the heart of the operation, Donna serves as a steady voice of reason, even as she faces dismissive treatment from colleagues and her boss, who frequently undermine her due to her appearance, being female, and her dedication to the job. Rachel Bloom balances authority with vulnerability, capturing both Donna’s competence and the pressure she carries.

Rather than leaning into the film’s heightened absurdity, Rachel Bloom plays Donna with a sense of realism that grounds the chaos. Her performance adds clarity to the disaster elements while highlighting the character’s resilience, particularly as she continues to persevere despite being the brunt of workplace “jokes”, as well as Barbra (Latrice Royale) reading her to filth in the spirit of drag culture by throwing shade and delivering one-liners. It’s this balance of professionalism and humanity that makes Donna Dusk stand out and reinforces her role as part of Stop! That! Train!‘s emotional core.

Latrice Royale is another undeniable scene-stealer, bringing her signature larger-than-life personality to the screen with effortless charisma. Appearing across multiple settings—from a check-in agent to an office worker in the control room alongside Donna Dusk, to a bartender and beyond—her character becomes a recurring comedic highlight through a string of unexpected job roles. It’s a running gag that never loses its charm, with each reappearance feeling fresh, unpredictable, and perfectly timed. Latrice Royale leans fully into the absurdity while maintaining a commanding presence, ensuring every moment lands and adding an extra layer of humour that enhances the film’s playful, chaotic tone.

Beyond the core cast, Stop! That! Train! leans into an extensive and energetic ensemble that keeps the film constantly populated with fresh personalities and comedic surprises. The supporting lineup is packed with recognisable names, including Paul Scheer, Joel McHale, Jerry O’Connell, Nicole Sullivan, Chris Parnell, Natasha Leggero, Brock Yurich, Drew Droege, Guy Branum, Charo, Evan Mulrooney, Asher Alexander, Jesse Tyler Ferguson, Missi Pyle, Angeria Paris VanMicheals, Matt Rogers, Michelle Visage, Riki Lindhome, Monét X Change, Jai Rodriguez, Raven-Symoné, Daniel Franzese, and Matthew Paul Heyman, amongst others.

Whether appearing briefly or recurring throughout, each performer adds their own distinct energy, ensuring Stop! That! Train! never loses its sense of momentum or surprise. Rather than feeling overcrowded, the ensemble structure works in the film’s favour, allowing for a constant stream of quick-fire humour and unexpected moments that keep the chaos engaging from start to finish.

Like many modern productions working at scale, Stop! That! Train! has found itself caught up in wider industry conversations, particularly around the use of artificial intelligence in filmmaking. Online debate emerged suggesting the film made heavy use of generative AI in its visual effects; however, those involved in the production have consistently maintained that the work was led by human VFX artists, with AI tools used only in a limited, technical capacity rather than as a creative driver.

Director Adam Shankman initially denied the use of generative AI entirely, stating on Instagram, “Every shot … was made by human hands! … There are a sum total of ZERO shots conceived by AI in the movie.” He later adjusted that position in an interview with Xtra Magazine, noting, “Some of the windows were AI. There was only one AI shot or two AI shots of the train, the rest are CG.”

In a subsequent update, a representative for Bleecker Street further explained that “AI tools were used by the VFX team to assist in three moments: to adjust the angle of the live action footage outside the windows to match the angle of the camera in one shot; and to format the CGI-crafted train onto two frames of live action footage exteriors.” The statement added that “traditional CGI was used, including for the train and the stormaganza, and hundreds of VFX artists were hired and paid for their work on the film.”

While the discourse around this understandably sparked discussion among audiences, it ultimately reflects a broader conversation currently shaping the film industry around the use of generative AI and its potential impact on creative labour, particularly in areas such as VFX, where human artists remain central to the filmmaking process.

In this case, the production’s decision to acknowledge and clarify its use of limited AI-assisted tools contributes to a wider push for transparency at a time when such practices are often debated or left undisclosed across the industry. Stop! That! Train! remains a visually driven production that leans into practical creativity and traditional effects work at its core, sitting within a wider creative landscape that continues to celebrate human-led artistry and bold, queer-led storytelling on a mainstream scale.

As with a number of high-profile productions released amid increased industry scrutiny, Stop! That! Train! has also generated discussion around Brian Jordan Alvarez’s involvement in the cast. The conversation relates to allegations of sexual misconduct made by former collaborator Jon Ebeling, who accused Brian Jordan Alvarez of sexual assault connected to a 2016 project, claims he has denied through a spokesperson, maintaining that all interactions were consensual. While this remains separate from the film itself, the seriousness of the allegations has contributed to wider discussion around accountability and casting, placing his involvement within a broader context that some audiences may consider when approaching the film.

Brian Jordan Alvarez plays Cal, a recurring character who is both DeeDee’s love interest and the conductor’s protégé, learning to operate the train ahead of the Stormaganza. This places him directly within key narrative moments as events escalate aboard the Glamazonian Express. However, his performance choice—including a stylised, throwback vocal delivery reminiscent of a 1990s teen-slacker archetype—proves consistently distracting. The exaggerated cadence disrupts the film’s otherwise cohesive comedic rhythm, and his presence across multiple scenes becomes increasingly grating rather than engaging, making the character one of the film’s more jarring elements within its otherwise fast-moving, camp-driven ensemble.

What elevates Stop! That! Train! is its ability to balance spectacle with self-awareness. The film knows exactly what it is—a high-energy, camp-infused disaster comedy-action—and fully leans into that identity. From its exaggerated scenarios to its rapid-fire humour and unmistakable nods to drag culture, it delivers an experience that feels both immersive and celebratory. At the same time, there’s an underlying sense of connection that runs throughout, ensuring the story never loses sight of its characters, even at its most over-the-top.

From a structural standpoint, Stop! That! Train! benefits from its train setting, which naturally drives the pacing forward. Much like the vehicle it centres around, the narrative rarely slows down, moving seamlessly from one moment to the next. While Stop! That! Train! is first and foremost a comedy-action film; its structure and momentum draw clear parallels to the 1994 thriller Speed, in the way both films maintain relentless forward motion within a confined, high-stakes environment. Here, however, that tension is filtered through a comedic lens. The humour is constant, the stakes continue to rise, and the film maintains a sense of momentum that keeps audiences engaged from beginning to end.

In the end, Stop! That! Train! thrives by embracing its strengths rather than overreaching. It doesn’t aim for subtlety or complexity; instead, it celebrates its camp sensibilities, its ensemble cast, and its sheer sense of fun. The result is a film that is loud, chaotic, and unapologetically entertaining—one that delivers exactly what it promises with confidence.

With its blend of humour, heart, and drag excellence, Stop! That! Train! proves itself to be more than just a parody—it’s a full-throttle celebration of performance, individuality, and joy, making it a must-watch when it arrives in UK cinemas on August 21, 2026, ahead of its wider international release. If anything, it leaves the door wide open for more chaos to come, and while nothing is confirmed, it’s hard not to imagine that a sequel could have just as much fun in this world—because if there’s one thing this film proves, it’s that drag, spectacle, and high-speed disaster comedy are a match made in heaven, practically begging for a second round.

Stop! That! Train! is currently available to watch in theatres in the United States, Canada, and Puerto Rico, with further international territories still to be announced. It is set to arrive in UK cinemas on August 21, 2026, ahead of a wider global rollout, with additional markets expected to be confirmed in the coming months. A VOD release is also planned for later this year, extending its reach beyond the theatrical window.

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