Much like the train we inhabit for Bong Joon-Ho’s English language directorial debut, the direction in which “Snowpiercer” travels is determined, but at its core, the journey is one that has no control. Nevertheless, this doesn’t mean that the trip isn’t one hell of a ride. Brilliantly choreographed and unrelenting action highlights this resplendent visual feast that has the brains to match, for the most part. With brutal violence and an array of contrasting, stimulating colours, one can’t help but push the chaos and in-your-face obviousness of “Snowpiercer” to the back burner and just enjoy the trek.
Bong Joon-Ho has been and continues to be a filmmaker whom I admire and look to for inspiration. The director of numerous triumphs such as true-crime thriller “Memories of Murder,” modern monster masterpiece “The Host,” and psychological drama “Mother.” Bong Joon-Ho finally makes his much anticipated debut in English language cinema with “Snowpiercer,” much like his South Korean counterpart Chan Wook-Park did in 2013 with “Stoker.” This latest offering from Bong Joon-Ho features an all-star cast comprised of newcomers and veterans to Ho’s brand of film. Chris Evans, Kang-Ho Song, Tilda Swinton, Jamie Bell, Octavia Spencer, Ed Harris, and John Hurt lead the way.
In the not too distant future, humankind unleashes what is believed to be a chemical remedy to global warming into the atmosphere. When this experiment backfires and sends our planet into an unliveable state, the few who remain seek refuge on the ‘Snowpiercer.’ A train powered by a perpetual motion engine that circles the globe once every year. Designed by the prophetic Wilford, this train is the last livable place on Earth, running on the same, worldwide track for eternity.
On board the train, what remains of our population has descended in to madness and chaos. The rich, privileged first class passengers live in luxury and comfort at the front of the train, while the rest find home at the tail where food and space is sparse. In order to obtain better living conditions and equality, the tail section revolts in an attempt to take over the engine and overthrow the current status in which the train functions.
Taking into account that “Snowpiercer” was an adaptation, the original format being a graphic novel. A lot of the film’s blatant depiction of its themes and cartoonish violence and characters is understandable. That being said, at its worst, “Snowpiercer” is a bewildering, over-stuffed allegory that really suffers from pacing problems. Which is kind of intriguing seeing as originally, Bong Joon-Ho was not given control over the final cut of the film. This changed rather quickly though with the outcry of infuriated fans, much like myself and Bong Joon-Ho once again took full control of his film. However, whether or not this is the truth or simply a gambit I find to be in question, seeing as the film itself feels as if there was a lot more character and story development left on the cutting room floor.
On the flip side, for all of its faults, “Snowpiercer” is a visually entertaining and mentally challenging flick. And apart from a rather lacklustre climax, there isn’t a single moment in its just over two-hour run-time in which boredom will overtake you. While extremely violent, “Snowpiercer” is not excessively gory. It tries and at times succeeds in portraying compassion and brotherhood over war and never sells the evilness of humanity as our undoing.
In his transition, Bong Joon-Ho hasn’t lost any part of his infallible repertoire. If anything, “Snowpiercer” is his most ambitious, technically masterful film to date. As we progress through each car, we are treated to a completely different spectrum of colour ranging from achromatic to vibrant and picturesque. The battle sequences are captured with the utmost intensity and emotion and the characters never take a backseat to this visual spectacle. While undoubtedly not Bong Joon-Ho’s strongest outing, “Snowpiercer” will forever remain an achievement on his impressive resume.
While I was, without question, rather anxiously excited awaiting Bong Joon-Ho’s next project, I didn’t become totally smitten until I heard that Kang-Ho Song would be co-starring. Having lead a few of my personal favourites: “Thirst,” “The Good, The Bad, The Weird,” “Memories of Murder,” and “The Host,” you can see why I was so ripe with anticipation. In “Snowpiercer,” Kang-Ho Song is as charismatic, intimidating, and darkly hilarious as ever. While the script didn’t really allow for his character to outstretch his wings, so to speak, there’s no denying that Song did everything he could to bring this mad, drug-addicted genius to life.
Leading alongside Kang-Ho Song is Captain America himself, Chris Evans. Having previously been featured in such personal favourites as “The Iceman” and “Sunshine,” I was sure that alongside Song, Evans wouldn’t disappoint. Evans continues his ascent to stardom with another heartfelt, invested turn, this time as the leader of the tail section revolution with a dreary, ruthless past. One thing that has become very apparent as of late, and that “Snowpiercer” exemplifies, is that Evans has the ability to deal out heroic, blockbuster performances as well as dramatic stunners.
In supporting roles, Swinton is nothing short of impeccable. Decisively devilish and so easy to hate, Swinton does a phenomenal job as an antagonist who’s death the viewer can easily enjoy. Jamie Bell continues to earn my respect and trust. After surprising performances in “Filth” and the recent “Nymphomaniac,” Bell’s performance in “Snowpiercer” is another I can sink my teeth into. Octavia Spencer, John Hurt, and Ed Harris are also worth noting here. While easily lost in the background, their brief moments on screen are strong enough to dazzle and provoke.
While not the game-changer I was anticipating. “Snowpiercer” is still an impressive feat that all involved can be proud of. It’s as entertaining as any big-budgeted Hollywood action flick and much more rewarding. It’ll turn its fair share of casual filmgoers away with its bleak, disturbing, and violent content, but for those who can stand “Snowpiercer” at its most repugnant, this is one train ride they won’t soon forget.
Snowpiercer: 8 out of 10.
Parting ways with convention while still managing to do right by its muse. The Good, The Bad, The Weird is uproariously funny, sufficiently violent, and thunderously acted. Using several intricate, grand settings, outlandish shoot-outs, and the dexterity of each individuals mastery to get the viewers adrenaline pumping. The Good, The Bad, The Weird feels like a much needed overdose of satisfaction. Amongst the whimsical dialogue, cringe-worthy killing, and exhilarating action. The Good, The Bad, The Weird has an ideal balance of never taking itself too seriously and no shortage of pulse-pounding sequences. Directed by Jee-woon Kim who takes a break from horror to create a truly original western-thriller. The Good, The Bad, The Weird is everything you want it to be and so much more.
In 1930s Manchuria, Tae-goo (Song), a thief, has just executed his daring train robbery and stumbles upon an elaborate map. Chang-yi (Lee), a bandit, has been previously hired to obtain the same map using any means necessary. Do-won (Woo-sung Jung), a bounty hunter, arrives on the scene to collect Chang-yi’s bounty. As Tae-goo and Do-won get caught up in Chang-yi’s train derailment, the possession of the map is lost in the chaos. When Chang-yi and Do-won get caught up in a gun-battle, Tae-goo makes an escape with the map. Upon discovering the map is a set of directions to lost treasure, the three men escalate their pursuits.
Even though it owes a lot to an outlandishly fun script and tremendous direction. The Good, The Bad, The Weird would be utterly lost without its three funny, sincere, malicious leads. Starring Woo-sung Jung as The Good, Byung-hun Lee as The Bad, and Kang-ho Song as The Weird. There is no doubt that this ensemble inherits each of the three title traits. Although making The Bad also the coolest is quite stereotypical. Byung-hun Lee has his character calm and collected and down to an art, both in his appearance and personality. Typically, the killer with a conscious just so happens to be The Good. However, when Woo-sung Jung delivers his chilling monologue while gazing towards the stars, all is forgiven. Finally, what would The Weird be without the necessary hilarity and apparent clumsiness. The diverse Kang-ho Song does a superb job providing the comic relief and manages to pull together another staggering performance.
With such a blatant disregard for their own lives, let alone safety. The cops, criminals, and cowboys bring back a time when cinema was appealingly over-the-top. Discombobulating the viewer with daring bullet exchanges, dusty stand-offs, and a deadly train robbery. Jee-woon Kim does a superlative job in both writing and directing The Good, The Bad, The Weird. His absolutely exceptional camerawork and witty, intelligent dialogue is highly addictive and hypnotic…The adding of a second ending to the international release gives any viewer not completely appeased with the original finale a more ambiguous, appropriate ending. Having a choice is a terrific advantage. To say that The Good, The Bad, The Weird’s transcendent cast, direction, and screenplay is a deadly combination would be putting it lightly.
Heart-pounding, intelligent, and hilarious. The Good, The Bad, The Weird is a sublime nod to classic westerns.
The Good, The Bad, The Weird: 8.5 out of 10.