Snowpiercer (2013)
Action | Sci-Fi | Thriller
Tagline: Fight your way to the front
After a failed global-warming experiment, a post-apocalyptic Ice Age has killed off nearly all life on the planet. All that remains of humanity are the lucky few survivors that boarded the Snowpiercer, a train that travels around the globe, powered by a
sacred perpetual-motion engine. A class system has evolved aboard the train, fiercely dividing its population - but a revolution is brewing. The lower-class passengers in the tail section stage an uprising, moving car-by-car up toward the front of the
train, where the train's creator and absolute authority resides in splendor. But unexpected circumstances lie in wait for humanity's tenacious survivors...
Storyline: Set in 2031, the entire world is frozen except for those aboard the Snowpiercer. For 17 years, the world's survivors are on a train hurtling around the globe creating their own economy and class system. Led by Curtis,
a group of lower-class citizens living in squalor at the back of the train are determined to get to the front of the train and spread the wealth around. Each section of the train holds new surprises for the group who have to battle their way through. A
revolution is underway. Written by Anne Campbell
Reviewer's Note: Reviewed by Martin Liebman, October 15, 2014 -- The apocalypse isn't here -- yet -- but cinema sure does enjoy playing with it. From World War Z to The Divide, from The Day After Tomorrow to
The Road, the end times come packaged in a variety of styles, including lighthearted fare, special effects extravaganzas, intimate journeys, blood-soaked backdrops, and movies that build on a fear of hopelessness, of inescapability, of a sense of
the morbidly inevitable. Snowpiercer decidedly falls into the latter category, cramming what's left of the world into a dark, dank, crowded, and (metaphorically) combustible train in which the haves and the have-nots have been separated for reasons
the movie explains in due time. Unnerving and frequently difficult, fascinating and consistently challenging, well made and expertly performed, the film, directed by Joon-ho Bong (The Host), ran afoul of controversy when the studio executives
clashed with the creative talents, but the end result is, fortunately, a beautifully grim, darkly captivating, and uniquely assembled picture that's one of the best of its kind and easily one of 2013's finest.
In an effort to combat global warming, man unleashed a chemical, dubbed "CW-7," into the upper atmosphere that was to bring about a minor cooling and return the planet to a more manageable temperature. Unfortunately, the consequences are disastrous.
Rather than drop the temperature a couple of degrees as desired, it ushers in a new ice age, killing off the entirety of the planet except for the few who managed to board an advanced train created by a locomotive wunderkind named "Wilford." The train is
separated into two distinct parts: the haves in the front and the have-nots in the rear. While the people in the back suffer in poverty, unclean conditions, overcrowding, and other maladies, the people in the front enjoy an elegant, clean lifestyle, are
fed fresh steak and vegetables, and are taught to worship the very name of their savior, Wilford. One of the unfortunates living in the rear, Curtis (Chris Evans), begins plans for a revolt, to push his way towards the front of the train and seize
control. He's helped by a man who has suffered greatly in the nearly two decades of train travel, Gilliam (John Hurt).
Any review of Snowpiercer should state up front that the movie is best enjoyed with as little information as possible going in, so those who have yet to see the movie should stop reading and go watch it (what follows below will be as spoiler-free
as possible). A rudimentary understanding of the basic driving force and foreknowledge that the movie enters some grim, uneasy territory is all that one should really know ahead of time, if even that. There's a real sense of discovery as the film moves
forward. It doesn't so much change pace as it does change perspective. It doesn't so much open new doors as it does explore the human condition. It doesn't so much celebrate violence but instead admonish it. It's a tricky film to describe without giving
it away, leaving a review better suited to reactions on intangibles like mood and atmosphere and basic story themes, not plot-specfic drivers. That said, for as good as it is going in as blindly as possible, it will arguably work better -- and in a
completely different way -- upon a second watch, armed with the foreknowledge of not just what happens, but why it happens, how it happens, clearer character motivations, more in-focus character destinies, and so on and so forth. It's thankfully good
enough to stand up to multiple viewings and the sort of scrutiny required to truly appreciate everything it has to offer, even as most of it is laid out in a rather neat and orderly manner from the outset.
At its most basic, Snowpiercer works through a number of allusions, calling to mind classic works like Animal Farm and other critiques of humanity through an unequal class system. The film integrates ideas on the division of resources, the
haves and the have nots, conditioning, punishment for falling outside the system, and an idea of order out of chaos and everything working in harmony, even when life isn't so harmonious for those carrying out the least glamours roles, whether they're even
aware of what they are doing or not. Where the film truly shines is in how straightforward it is with its approach. Even Orwell wasn't this blunt. Sure, the movie builds on the ideas and reveals a number of secrets in due time, but there are no hidden
messages here, nothing really wrapped up in disguise, no parallels, no dots for the audience to connect, no deeper understanding of philosophy, sociology, anthropology, politics, or history required to understand what the film is saying and why it's
saying it. Those things will help, but the film does a tremendous job in making it all very clear without losing its impact or purpose. That's a very fine line to walk, and the film pulls it off flawlessly, even more impressive considering just how deep
the proverbial rabbit hole goes as the film moves towards its end. And that's not even considering some of the more "superficial" surprises that are revealed along the way, such as the source of the back-ender's gelatinous "protein bars" and the
"creative" use of the dark tunnels through which the train must occasionally traverse. At the end of the day, however, the one broad message to take away from the movie appears to be that man, no matter how pushed to his limit, how dwindled his numbers
may become, cannot escape some animalistic need to rule, to make distinctions, to rise to the top, even in times when survival boils down to a clash between technology and tribalism.
The picture is also an incredible technical achievement. Art direction is incredible for a movie that's, at first glance, so devoid of character. It's that perfection of nothingness and hopelessness embodied in the precision set design, and in such a
limited space packed with so many people, that truly helps to sell the movie. Things change, a bit, as it moves forward, but the film always impresses with its visual cues and design choices. It's very well directed, too, feeling cinematic yet intimate,
big even within a confined space. Joon-ho Bong proves capable of pulling the audience into every scene, making it, if nothing else, a real bystander in the film and not simply a detached observer watching it unfold from afar. That sense of audience
intimacy only helps to enhance the feeling of despair, that sense of legitimate engagement in the story, and by extension makes the revelations more prominent and personal as, again, the movie pushes towards the end. It's brilliantly performed, too. Tilda
Swinton is unrecognizable as something of a heavy-handed authoritarian spokesperson for the front of the train. She doles out punishment and not only toes the front-end company line but takes the opportunity to stomp all over the "lesser" people in the
back. The performance is disturbingly brilliant, a diabolically efficient performance. Swinton captures the essence of a person who has, by all accounts, lost her soul. The obvious absence of humanity is disturbing, to say the least, and as the character
slightly evolves to a different tone later in the film, the performance remains startlingly good. Chris Evans is excellent in the lead role. The part isn't quite so challenging as Swinton's if only because Evans portrays someone on the complete opposite
end of the spectrum, one overflowing with humanity and willing to kill to keep it rather than killing because he's no longer a civilized individual. He delivers one of the finest, yet most disturbing, monologues in quite some time around the start of the
third act that brilliantly captures the film's core essence. The picture enjoys several strong supporting performances from the likes of John Hurt, Kang-ho Song, and Alison Pill.
Though Snowpiercer could be summarized as The Divide meets The Day After Tomorrow, such a comparison, though accurate in a general sense, would be to do the film a disservice. It's fully unique beyond the surface, a powerful, and
powerfully performed, cautionary tale about the nature of man, survival instincts, division, humanity, and a whole host of topics that are more often than not examined in a rather blunt, open narrative that's just as effective as films that are much more
clandestine about keeping their meanings hidden away in nuance and subtlety. The film is as straightforward as the speeding train, revealing secrets as it moves forward and keeping the audience engaged, guessing, shocked, disgusted, fascinated, and yes,
even entertained throughout. Few films manage such a completeness, such a presence, such an authority as this. It's modern filmmaking at its best and a film that will linger long after its reaches its conclusion. Anchor Bay's Blu-ray release of
Snowpiercer delivers rich video, robust audio, and a healthy array of supplemental content spread across two discs. It receives my highest recommendation.
Trivia:- This is based on the French graphic novel "Le Transperceneige". Director Joon-ho Bong discovered the comic in late 2004 during pre-production of The Host (2006), and was fascinated by the concept of
people struggling on the train for survival.
- Bong Joon-ho first wrote the part of Mason with John C. Reilly in mind, but then adapted the character for Tilda Swinton. He even intentionally left lines of Mason being referred to in the masculine-form in the script, which show up in the movie.
- According to Director Joon-ho Bong, Tilda Swinton played another role as well as Mason - she played the woman trying to snatch the wine bottle from Yona when she and her dad are collecting Kronole lumps from the clubbers.
- This is Joon-ho Bong's first English film.
- Director Joon-ho Bong says he got the idea from 70s nuclear-powered submarine. The train and nuclear-powered submarine in 70's have similar average speed of 50km per hour.
- The train in the set was more than 500m long.
- There was no other light than the torch itself while the torchlight scene was filmed.
- The markings on the engine, a circle with a narrow S on it represent the Ying/yang, the same relationship between the front and the back of the train, the front can't survive without the children of the back, and the back can't survive without the
food from the front, a "perfect" symbiotic relationship.
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[CSW] -3.3- Though completely absurd in many ways, this is an enormously ambitious, visually stunning futuristic epic from the gifted Korean genre director Bong Joon-ho. It cleverly examines the issue of social class in a thoroughly engaging, yet complex
manner told in a way that never runs out of momentum. It also gets into the complexity of revolutionary movements. Much of it is troubling and thought provoking, offering some unexpected commentary and reversals over easy answers. For those that haven't
given thought to all of the issues this is the type of film that should get them thinking about those issues. If you can't see the storyline as an allegory used to portray these complex moral and social issues then you will probably be disappointed as
this isn't primarily an action film even though it is full of action. The darkness and barbaric conditions are just a necessary part of this allegory as is the idea of a perpetually running train. If you can just sit back soak in the visually arresting,
thought-provoking and often thrilling vision of a bleak future, then the social, moral, and environmental issues should drag you into the storyline. If not you may be disappointed.
[V4.5-A5.0] MPEG-4 AVC - No D-Box.
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When Curtis makes his way into the engine, he learns the train operates using child slave labor. Realizing the entire system is corrupt and impossible to save, Curtis and his compatriots destroy the Snowpiercer, possibly killing everyone on board, except
for two kids. Emerging from the rubble, a teenage girl and a young boy find themselves Adam and Eve of a frozen world, free from Wilford's control. And as they step into the snow, they see a polar bear, a sign the world is thawing out and that maybe
there's hope after all.
Well, that's what Bong Joon-ho intended anyway, but many people had trouble getting past certain plot holes. As one incredulous Reddit critic wrote, "A girl and a kid that lived in a sheltered environment their whole life and don't know how to hunt or
gather in the snow…I give them a couple of days tops." Another angry moviegoer wrote, "They will be eaten [by the bear] and the human race dies out." There are countless other online comments picking the ending to pieces, but really, overanalyzing
Snowpiercer is like debating the logic of a C.S. Lewis novel or Pilgrim's Progress, as this sci-fi flick is supposed to work as one big allegory.
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