Frankly, the new action picture Snowpiercer isn’t quite like anything in recent memory. It won’t be for everyone and it may even rub some viewers the wrong way. But it is a memorably wild ride that not only subverts many conventions of the genre, but adds in a healthy heaping of allegory and satire. There are a lot of elements at play and even if this crazy stew is occasionally overcooked, it’s still a stunning work of fevered imagination and ambition.
This modestly budgeted South Korean/French/Czech/American co-production may not have the resources of a Hollywood blockbuster, but you wouldn’t guess it based on the plot synopsis. After an environmental disaster leaves the world in another Ice Age, a small band of survivors are forced to reside on a perpetually moving train. However, class structure hasn’t changed, with the poor locked away and living in squalor in the caboose, while upper class citizens reside in comfort up front. Tired of being fed mysterious jello-like protein bars and having their children forcibly taken away for unknown purposes, the group decide to stage a revolt and take control of the engine room. In fact, the opening scenes bear some resemblance to Sergei Eisenstein’s Battleship Potemkin.
While the uprising seems fairly straightforward, director Joon-ho Bong (The Host) manages to create a palpable sense of mystery and tension. The fight scenes aren’t viscerally graphic, but they are uncomfortable, brutal and ugly – implements like knives and axes come into play and Bong has no issue with killing any character at a moment’s notice. Additionally, as the survivors move forward, we’re never quite sure what’s awaiting them in the next train car, generating even more suspense. The sights are increasingly strange and unexpected.
Although the central roles are to some extent archetypes, they’re each given their own unique and interesting quirks. Leader Curtis (Chris Evans) has a fascinating and increasingly dark back story that is slowly revealed as the movie progresses. Protagonists in most films don’t carry this kind of baggage, nor are they forced into making painful decisions that involve sacrificing others for the cause. Even the personal temptations of power and wealth become an issue for the flawed protagonist.
With all of this subtext, it seems like an incredibly dark film. And to a degree it is, but the energy level and satirical tone keep it from feeling overly grim or ponderous. Villain Mason (Tilda Swinton) is a particular standout. Her exaggerated demeanor, mannerisms and willingness to negotiate anything for her own survival is extraordinarily enjoyable to watch. She’s deliciously nasty and is by far one of the more memorable heavies to come along in recent years.
And as mentioned, there are several creative action scenes that use the unique, close-quartered locations (including a basic supply car, children’s classroom or even a spa-like sauna) in a myriad of interesting ways. Even if you were to ignore the important subtext, it’s an effort chock full of pulse-pounding conflict.
As with any action-filled flick hampered by a small budget, some of the computer generated special effects aren’t quite up to the standard of its big budget competitors. However, what’s going on in the story – the concepts, insinuations, surprises, work of the cast and general uniqueness of it all is more than enough to hold viewer attention.
Snowpiercer revolts against the rules of the genre, much like its characters strike against their oppressors. It is a very welcome and original effort that offers moments both exciting and thought-provoking. Even though it’s only receiving a limited release on this side of the world (it was already a hit internationally last year), this is a strong film that will eventually find and expand its North American fan base.