Overall Rating
  Awesome: 76.19%
Worth A Look: 9.52%
Just Average: 0%
Pretty Crappy: 4.76%
Sucks: 9.52%
2 reviews, 9 user ratings
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Snowpiercer |
by Rob Gonsalves
"A thing of beauty."

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The morosely spectacular "Snowpiercer" shouldnât be taken literally.Here is an allegorical science-fiction epic that unfolds aboard a massive train, streaking through the snow-clotted wasteland that used to be civilization. (In July 2014, the movie tells us, we pumped some super-coolant into the atmosphere to curb global warming; it worked too well. Oops.) The poorest folks are stuck in the âtailâ of the train, while the one-percenters live it up near the front. A few brave 99-percenters, led by Chris Evans as the bearded, sullen Curtis, decide to move ahead car by car. Thatâs the movie. It is a thing of pure cinematic beauty, the movie you want in your deck when arguing for the artistic potential of action films. If you must, itâs Runaway Train meets Brazil â Kurosawa and Gilliam, together at last.
It canât be coincidence, either, that Snowpiercer features a character named Gilliam (John Hurt), an ancient sage minus an arm and a leg, for reasons we eventually discover. Some of the details in the world-building here are so odd they feel about as realistic as anything else; like the director Bong Joon-hoâs previous breakout hit The Host, and indeed like much of South Korean cinema, Snowpiercer is a highly unstable mix of action-flick grimness and surreal monkeyshines. Tilda Swinton, for example, trots into the proceedings with horse teeth and ugly glasses as an officious marshal who explains that the poor are a shoe, and therefore do not belong on the head. Even she looks normal, though, when we reach the train car where children learn the wonders of the man who built the train, a lesson as told by a pregnant teacher (Alison Pill) who packs a machine gun and trills happily at a piano.
Snowpiercer rattles and hums with visionary life, front-loaded with economical character moments, as The Host was, so that by the time we reach the action, it means something. Violence is not cool or a joke to Bong Joon-ho; it ruins lives and cuts down characters weâve come to like. This sets his work aside from, and high above, the glib head-bashing in Gareth Evansâ Raid films. The fights are not cleverly choreographed â theyâre clumsy, gnashing affairs. Bong is more interested in the microcosm represented by the train in each of its cars; a close reader will probably eventually devote more thought to the relevance of the compartments, which lead inexorably to the Kurtz of the piece, Wilford (Ed Harris), the trainâs architect and god of the engine. Ayn Rand would like him.
Most action films today go down in a bitter, indigestible lump, like the protein blocks we see the poor passengers subsisting on here, made out of ground-up cockroaches. The new Transformers atrocity serves up dead roach chunks from sea to shining sea. Snowpiercer tastes and chews like the steak enjoyed in the engine room, nutritious and full-blooded, made of hearty red meat. If the movie were playing on more than a relative handful of screens nationwide, Chris Evans would get deserved props for a haunted anti-hero much removed from Captain America, and the terrific Song Kang-ho, star of The Host (and again playing Go Ah-sungâs father), would take his place as a wooly icon to shelve alongside Toshiro Mifune and Runaway Trainâs Jon Voight.
The reason so many of us critics are going slightly nuts over Snowpiercer is that, like many foreign films, it does so effortlessly what Hollywood has mostly forgotten how to do. It tells a simple story swollen with symbol and meaning, side dishes which we can either feast on or disregard. Itâs edited not for inane adrenaline but for emotional impact, suspense, dread, awe. This hurtling microcosm, cleaving through an uninhabitable void, is a world unto itself, filled with desperate heroics and callous escapism and everything inbetween. As for the gentle-faced Bong Joon-ho, he is very much in the Guillermo del Toro mold, a storyteller who burrows around in genre and tries to expand it from within. Bong has also assumed the mantle of Terry Gilliam in more ways than one: For his troubles, and his vision, distributor Harvey Weinstein has punished Bongâs film by releasing it in a trickle. Bong refused to cut twenty minutes out of Snowpiercer, so Weinstein has made it so that most of the people who would like to see it on the big screen â where it demands to be experienced â wonât be able to.Weinstein should no longer pretend to care about film, and Bong should no longer do business with vulgarians like Weinstein.
link directly to this review at http://www.hollywoodbitchslap.com/review.php?movie=26133&reviewer=416 originally posted: 11/26/14 16:00:00
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OFFICIAL SELECTION: 2014 Berlin Film Festival For more in the 2014 Berlin Film Festival series, click here.
OFFICIAL SELECTION: 2014 Los Angeles Film Festival For more in the 2014 Los Angeles Film Festival series, click here.
OFFICIAL SELECTION: 2015 Boston SciFi Film Festival For more in the 2015 Boston Sci-Fi Film Festival series, click here.
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USA 27-Jun-2014 (R) DVD: 21-Oct-2014
UK N/A
Australia 27-Jun-2014 DVD: 21-Oct-2014
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