Starring Dougray Scott, Kara Tointon and Iddo Goldberg, this film follows the man; a doctor and a widower, and their commuters' efforts to stop the train after it was discovered to have been hijacked by an unknown, mysterious driver.

In December 2004, Lewis Shaler is a doctor and widower heading home with his young son Max on a late-night train from London Charing Cross to Tunbridge Wells.

Along with fellow passenger Jan Klimowski (who originally attracted suspicion as he is under the influence), they attempt to stop the train using the rear handbrake; initially with success but are later thwarted when the driver speeds up, overwhelming it.

It transpires that the police have laid an ineffective blockade out of sandbags which only momentarily stops the train, and none of the passengers can open the doors due to the tunnel's narrow clearance.

Suspecting that they are now close to a deadly crash at the Hastings station buffers, Shaler creates an improvised explosive using the last remaining fire extinguisher.

With the train leaking fuel and continuing to burn around him, Shaler takes a moment to compose himself, before running and leaping from the carriage just as the entire vehicle explodes.

In an interview about the film in the March 2013 issue of Vérité Magazine, Omid Nooshin said "There's a mythic resonance, being trapped in the Belly of the Whale, but there's also an existential dimension, hurtling towards the end of the line, towards certain death.

[4] Consequently, Nooshin directed and co-produced along with producers Zack Winfield, Ado Yoshizaki and Dickson a £500 trailer to attract potential backers, filming on a heritage train on loan from the Bluebell Railway in Sussex.

For budget reasons, Last Passenger used a real train as its set, but one drawback of this approach was that the crew couldn't remove any walls and therefore the camera would have to remain close to the actors.

The Last Passenger production team visited Kent & East Sussex Railway in November 2011 to shoot the carriage fire scenes at the end of the film.

In an interview about the film, editor Joe Walker claimed that part of the fun of cutting Last Passenger was seamlessly merging these disparate elements.

During development, Nooshin and producer Zack Winfield traveled to Wellington to meet with Weta Workshop special effects head Richard Taylor, an avid train fanatic and supporter of the script.

Nooshin and his producers ultimately put their faith in Tim Smit, a Dutch VFX artist who had worked on the original £500 trailer, to deliver all the digital effects shots.

These pieces then gradually evolved over the entirety of post-production, sometimes shifting in tone and location, so that when time came to record the final score with an orchestra its passages had organically found their form and placing.

Bates states on the CD cover notes "Interestingly, the music for a movie which is literally constantly on the move, required particular attention [to] the vehicle of rhythm.

This element which was laid out with strongly defined pace and carefully marked tempo transitions, would become the back-bone for the steadily rising tension in the film, leaving pitch or melody to draw out the emotion surrounding the characters and their interplay."

[20] Gary Goldstein wrote in the LA Times that taken on its own lower budget terms Last Passenger is an "engrossing, pulse-quickening journey that deserves a wider local release than it's receiving."

Mike McCahill reviewed for The Guardian, giving 3/5 stars and writing "Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.

Charlotte O'Sullivan wrote in the Evening Standard that the film "doesn’t have the bottle to swerve genre clichés", although Short List magazine held the opposite view: "Using just a few train carriages and a handful of actors, an impressive level of suspense and claustrophobia is created, which is happily cliché-free.

Similarly Brian Orndorf wrote "Instead of submitting entirely to formula, the movie attempts something seldom seen on the screen, trying to make the idea of a monster more frightening than the constant demands of one.