| Photos (see all 9 | slideshow) |
| Ben Johnson | ... | Carne, Train Conductor | |
| Jamie Lee Curtis | ... | Alana Maxwell | |
| Hart Bochner | ... | Doc Manley | |
| David Copperfield | ... | Ken, The Magician | |
| Derek McKinnon | ... | Kenny Hampson (as Derek MacKinnon) | |
| Sandee Currie | ... | Mitchy | |
| Timothy Webber | ... | Mo | |
| Anthony Sherwood | ... | Jackson | |
| Howard Busgang | ... | Ed | |
| Steve Michaels | ... | Charley the Brakeman | |
| Greg Swanson | ... | Class President | |
| Vanity | ... | Merry (as D.D. Winters) | |
| Joy Boushel | ... | Pet | |
| Victor Knight | ... | Walter the Engineer | |
| Donald Lamoureux | ... | Shovels the Stoker (as Don Lamoureux) | |
| Charles Biddle Sr. | ... | Donnelly the Chief Porter | |
| Elizabeth Cholette | ... | Maggie the Dispatcher | |
| Thom Haverstock | ... | Bill Chase (as Thomas Haverstock) | |
| Peter Feingold | ... | Senior | |
| Richard Weinstein | ... | Pledge #1 | |
| John Busby | ... | Pledge #2 | |
| Roland Nincheri | ... | Bus Driver | |
| Andrea Kenyon | ... | Bunny Girl | |
| Elaine Lakeman | ... | Nurse | |
| Gerald Eastman | ... | Porter #1 | |
| Charles Biddles Jr. | ... | Porter #2 | |
| Nadia Rona | ... | Corpse | |
| Larry Cohen | ... | 'Crime' band member: Keyboard Vocalist | |
| Brenda Gagnier | ... | 'Crime' band member: Bass Guitar | |
| Phil Albert | ... | 'Crime' band member: Drummer |
Directed by | |||
| Roger Spottiswoode | |||
Writing credits | ||
| T.Y. Drake | (writer) | |
| Daniel Grodnik | story (uncredited) | |
Produced by | |||
| Lamar Card | .... | executive producer | |
| Don Carmody | .... | line producer | |
| Harold Greenberg | .... | producer | |
| Daniel Grodnik | .... | executive producer | |
Original Music by | |||
| John Mills-Cockell | |||
Cinematography by | |||
| John Alcott | |||
Film Editing by | |||
| Anne Henderson | |||
Casting by | |||
| Ingrid Fischer | |||
| Anna St. Johns | |||
Production Design by | |||
| Glenn Bydwell | |||
Art Direction by | |||
| Guy J. Comtois | (as Guy Comtois) | ||
Costume Design by | |||
| Veronica Hadfield | (as Penny Hadfield) | ||
Makeup Department | |||
| Michèle Burke | .... | makeup artist | |
| Alan Friedman | .... | special makeup consultant | |
| Joan Isaacson | .... | makeup artist | |
| Louise Mignault | .... | makeup assistant (as Louise Mignault Rundell) | |
| Huguette Roy | .... | hair stylist | |
Production Management | |||
| William Zborowsky | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Lamar Card | .... | second unit director | |
| David McLeod | .... | second assistant director | |
| Blair Roth | .... | third assistant director | |
| Ray Sager | .... | assistant director | |
Art Department | |||
| Raymond Larose | .... | draftsman | |
| Jean-Pierre Laurendeau | .... | assistant props | |
| Maurice Leblanc | .... | property master | |
| Rosanne Moss | .... | assistant to production designer | |
Sound Department | |||
| Ellen Adams | .... | dialogue editor | |
| David Appleby | .... | sound re-recording mixer (as Dave Appleby) | |
| Fred Brennan | .... | sound effects editor | |
| Bo Harwood | .... | sound mixer | |
| Sharon Lackie | .... | dialogue editor | |
| Jean-Marc Magnan | .... | boom operator | |
| Andy Malcolm | .... | foley artist | |
| Michael O'Farrell | .... | sound effects editor | |
| Dino Pigat | .... | sound re-recording mixer | |
| Michael Rea | .... | assistant sound editor | |
| Helen Watson | .... | assistant sound editor | |
| Don White | .... | foley recording mixer | |
Special Effects by | |||
| Joe Elsner | .... | special effects (as Josef Elsner) | |
Camera and Electrical Department | |||
| Peter Benison | .... | additional photographer | |
| Lou Bogue | .... | gaffer | |
| Alan Carruthers | .... | still photographer | |
| Don Caulfield | .... | key grip | |
| James Devis | .... | camera operator | |
| Normand Foy | .... | best boy | |
| Jonathan Goodwill | .... | clapper loader | |
| Paul Gravel | .... | focus puller | |
| Pierre Lapointe | .... | assistant key grip | |
| Allen Smith | .... | additional photographer (as Al Smith) | |
| Jerome South | .... | grip | |
| Yves Tessier | .... | electrician | |
| René Verzier | .... | additional photographer | |
Costume and Wardrobe Department | |||
| Susan Hall | .... | wardrobe mistress | |
| Jenepher Hooper | .... | set costumer | |
| Lise Pharand | .... | seamstress | |
Editorial Department | |||
| Thomas Metzger | .... | color timer | |
| Susan Shanks | .... | assistant editor | |
Music Department | |||
| Kirk Hawkes | .... | music editor | |
Transportation Department | |||
| Michael Bernardelli | .... | driver | |
| Victoria Frodsham | .... | driver (as Vicki Frodsham) | |
| Donna Noonan | .... | driver | |
| Roy Perryon | .... | driver | |
| Joe Sanchez | .... | driver | |
| Michel Siry | .... | driver captain | |
| Steve Wilkins | .... | driver | |
Other crew | |||
| Victoria Barney | .... | assistant to producer | |
| Don Carmody | .... | production executive | |
| Paulle Clark | .... | assistant production accountant | |
| Marie Renée Collette | .... | stagiere | |
| David Copperfield | .... | illusion creator | |
| Lucie Drolet | .... | production accountant | |
| Kathy Flynn | .... | production secretary | |
| Brigitte Germain | .... | continuity | |
| Ginette Hardy | .... | unit coordinator | |
| Paul Lamontagne | .... | location manager | |
| François LeClerc | .... | assistant location manager | |
| Holly Levine | .... | publicist | |
| Louis A. Massicotte | .... | assistant to executive producer | |
| Sandy Rochester | .... | production assistant | |
| Caryl Wickman | .... | dialogue director | |
| Paul Wisenthal | .... | train coordinator | |
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"Terror Train" is one of the better entries in the slasher cycle.
**SPOILERS**
Three years ago, Alaina Maxwell, (Jaime Lee Curtis) humiliates the class nerd in college during a prep rally by accident. When the class takes a trip on a train as a graduation party, she goes along with the others partying. Unknowingly, the entire class is being watched from the shadows by an unknown person. The class members start dying along the route, and the conductor, Carne, (Ben Johnson) is the one who keeps finding the bodies. He informs the class that a killer is on the train, but when they can't find him after a sweep, they demand to be let back on. Alaina finds that the killer is after her, and tries to fight him off and stay alive.
The Good News: As the slasher cycle started getting it'd feet in the late 70s, it was inevitable that the copy-cats would come out at some point. Fortunately, this is a copy-cat but a really good one. The familiar clichés found in the genre make for predictable viewing, but the way they're accomplished are what sets it apart. The film has some wonderful suspense moments that are courtesy of the spectacular camera work. After being locked out of her compartment, a figure approaches down a darkened hallway. This leads to a short chase where it's revealed to be a false alarm, but the idea was still there because of the camera work. The highlight, though, is the clever and downright creepy ending sequence where, after a brief struggle, a character locks them-self in a compartment in the same room with the killer. After several attempts to break in, the killer grabs a long pole and knocks out every light in the room, rendering it totally dark. It sets up a brilliant series of shock jumps that is only due to the camera making sure that the darkened part of the room is the main focus of the sequence. It's a great sequence that really sticks out. The double-twist with the killer's identity is nice, as the first one is pretty easy to guess, but the second one is a great one that does come from out of the blue.
The Bad News: There's really nothing in the way of gore here. A couple of after-effects and finding some bodies with knives and other objects found in them, but that's pretty much it. Considering that it has some deaths that needed some blood, as well as a couple off-screen as well, lowers the gore content pretty drastically. Considering the time it came out, this should've been a little more gorier. Plus, the film does fall into the slasher cannon of the time, so it is fairly predictable and really offers nothing new.
The Final Verdict: Coming out at the right time in horror history didn't hurt it at all. It's "Halloween" on a train, so that should really be the definitive response giving by this. Slasher fans with find a lot of good things here, but non-slashers will pretty much find this to be another by-the-numbers movie.
Rated R: Violence, some Language and Brief Nudity