a5c7b9f00b The nations release the substance CW-7 with the intention of controlling the global warning, but accidentally it results in another Ice Age destroying Earth. The only survivors live in the train Snowpiercer which is driven by a perpetual motion engine created by the millionaire Wilford that lives in the engine part. In 2031, after seventeen years, there is a fight of classes inside the train since the oppressed lower class lives in dreadful conditions in the last wagons of the train while the elite lives in the front wagons. The lower class is fed with protein bars only; they are oppressed and punished by Minister Mason and her brutal guards; and their children are taken every now and then when they reach a certain height. The leaders Gilliam, Curtis Everett and Edgar are plotting a scheme to reach the engine and talk to Wilford about their conditions using the addicted security engineer Namgoong Minsoo and his clairvoyant daughter Yona that are imprisoned to open the locked doors. When the son of Tanya, Timmy, is captured by Mason, they decide to execute their plan. There are many casualties and soon Curtis discovers that they have been manipulated by Wilford to balance the resources in the train, and why the magnate keeps the lower class alive. Set in a future where a failed climate-change experiment kills all life on the planet except for a lucky few who boarded the Snowpiercer, a train that travels around the globe, where a class system emerges. Drama-Queen Direction, Juvenile Cinematography, and C-grade, third-world level of sophistication: It's almost as if just because you know the situation, you are supposed to be invested, and care. But movies need to give a little something to get a viewer's love… Don't they?<br/><br/>THE CONTENT and WRITING: It's pretend apocalypse time with as much intellectual spin as an average four-year-old could muster, with one attempt at mini-climax after another. These mini-moments are provided in wanna-be action sequences full of unconvincing character passion, such as during the rebellion-planning by a routine (ho hum), resentful lower class, or in fight scenes portrayed with the embarrassing camp of early kung-fu movies - fake sounds and sprayed blood. (And Tarantino-class this does not begin to suggest. Besides which there's no kung-fu!) Actually, the fight scenes are quite disappointing.<br/><br/>Possibly the worst part is the 1950's-style, backward psycho-drama, which comes across as belabored and self-absorbed, and is thus comically pathetic. For example: A supposedly important personal development moment for the main character is when he acknowledges, in self-pitying whine, that Gee, I ate baby flesh when I was starving. Come on, Chris Evans is pretty flat-affected (which is why he makes a good purpose-driven Marvel automaton), and in this confession, the actor Appears to be Striving for Impact, but it was not at all persuasive. It was supposed to segue into the Personal Growth Highlight of the Entire Movie: His redemption comes in the form of sacrificing his hand to save a child, but by then?? We've already seen that in this movie repeatedly, and there is not enough buy-in with this character's emotions to be even mildly moved. And the Really Big Deal of blowing open a hole in the train? That was one uni-dimensional character's raison d'etre, but it was immediately and utterly overshadowed by the destruction of the train in a landslide ANYWAY. You see, all of it leads absolutely nowhere; so perhaps it is only the depressed, existentially-enthralled who could find any value here.<br/><br/>THE DIRECTION: There are long, long, boring moments between thoughts and actions, and between comments and responses, as if viewers could not possibly comprehend and therefore needs LOTS of time to get with the program. These drags do not increase tension, or contribute to plot movement, or reveal ANYTHING. This results in the director appearing truly ignorant of the craft, or at least out of touch with modern mind-sets. I can't help but wonder if the actors are either embarrassed or joking amongst themselves about their participation… It's a paycheck, right? No emotion seems genuine, despite that some of these actors have Good Salt. As every last actor performed like an amateur, I can only blame the direction.<br/><br/>CINEMATOGRAPHY: Let's look at people from the ceiling at a weird angle so we can feel radically artsy! Then, let's shake the camera around a bunch so the picture is blurry, and it will seem like there is actually something going on! <br/><br/>Thank you for reading. KEC I started watching this movie expecting nothing, but boy was I surprised! As someone said, this is finally an Americanised Korean movie done right! To me it feels as if '1984' and 'Brasil' had an unholy child together. I was a fan of both of those films, so I warmly salute their offspring. I'd rather not tell anything about the plot, this movie is better enjoyed without any spoilers.<br/><br/>To the people pointing out plot holes and lack of realism: people, it is obvious after 10 minutes that this is a surrealist peace. It's like complaining at the lack of realism in '12 Monkeys' for crying out loud. Enjoy 'Snowpiercer' for what it is! Snowpiercer is an ambitious piece with a universally comprehensible theme and accessible aesthetics.
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