The Oscars, the Films and everything in between.
There are two major sci-fi-ish movies opening today. This is the one you should be seeing. Not that other POS. Don’t forget. Throbbing red band trailer after the cut.
THIS DISCUSSION IS THICK WITH SPOILERS so anyone who hasn’t seen Snowpiercer yet might want to turn back now before your cherry is tampered with.
I’m amongst those who wanted to bang my head against the wall when this ended. The last act is disappointing and it kind of defeats the entire purpose of the film. But it’s very innovative and Tilda Swinton is the best thing about it.
I adored it, but here’s how Forestieri raved/rambled about it a month ago:
[spoiler-ish] Saw it some time ago via imported Blu-ray. Very rewarding in its visual storytelling, tonal shifts, and all things considered, a satisfying riff on the genre(s). Tilda Swinton in fine show-stealing form. Fans of the microcosm/vessel devices in both ensemble and setting will rejoice in the execution; never losing sight of the absurd, and never going into the facile, partial, or patronizingly didactic (aka ELYSIUM). There is a refusal at the end that speaks volumes about contemporary big-picture leadership, and apparently nothing(?!) too according to the comments above me, but how about you decide that for yourself. The plot is simple so I’d rather not be descriptive and let you enjoy the layers being impetuously peeled — also because I’m not even sure if I already raved about it here at AD so I don’t want to repeat myself(★★★★/5) Makes it two for two for Chris Evans this year, and when you take BEFORE THE DEVIL KNOWS YOU’RE DEAD into consideration, you can’t but from now on be mindful of Kelly Masterson’s undersold screenwriting career; with eyes on GOOD PEOPLE coming out sometime this year.
[spoiler-ish] SNOWPIERCER too belongs in the great tradition of films that almost-nearly lost me when certain hot dude either dies or rather arbitrarily ceases to be on screen. Misty-eyed memories of Orestes in LANDSCAPES IN MIST, Sergei in LETTER NEVER SENT, Cop 223 in CHUNKING EXPRESS, and Astinos in 300.
I saw it a few weeks ago and I didn’t watch it under the best conditions so I need to see it again to fully appreciate it. That said it veered towards cartoony here and there, especially with Tilda Swinton. If anyone’s ever played a Bioshock game then they’ll see the similarities. The last act was somewhat disappointing but there were a few twist moments and a conversation between Chris Evans and Kang-Ho Song that really, truly made it worthwhile.
Most mind-expanding, thought-provoking, challengingly conceived sci-fi since the much-maligned Prometheus.
Wish Awardsdaily would have something to say about Roman Polanski´s “Venus in Fur” which started last weekend in U.S. (limited release in New York) and should go wider this weekend. Terrific performances by Emmanuelle Seigner and Mathieu Amalric and masterly mise-en-scene within the limited space of the location by Roman Polanski. Also Great Cinematography.
And by the way. Snowpiercer is also a very good film
I can’t believe anyone found the last act disappointing.
************MAJOR SPOILERS BELOW*************
First of all, anyone who has seen BEFORE THE DEVIL KNOWS YOU’RE DEAD knows that Kelly Masterson does bleak better than most, so if you’re familiar with that one at all you should know what you’re getting into with this one. Second of all, and this is directed at murtaza above, the fact that basically the entire human race (except two impossibly cute kids) dies does NOT defeat the purpose of the film. If you believe that then you had a misguided idea of what the film’s purpose was. This was NOT a hero’s journey about overcoming oppression and “saving” the common man from the 1%. This is about misguided, flawed people on both sides of class warfare hellbent on destroying each other. Joon-ho Bong and Kelly Masterson want to show you two opposing viewpoints of humanity (one is about order by any means necessary, the other about justice by any means necessary). First they want you to try and understand them and even possibly relate to them in some way, then they want to show you that they’re both just plain wrong and the only logical endpoint to this opposition is complete and total destruction. This is obviously a comment on society as we know it today, and I think while you can certainly say the writers have a particularly pessimistic outlook on our prospects as a species (and I can understand if that puts a damper on your day), its not as if they don’t insert the smallest shred of hope at the very end. Just think of the last shot of the polar bear. What does that tell you? To me, it says there is the potential to learn how to live more in harmony with the world around us, and while it may be too late for previous generations, the youngest among us have the opportunity to pick up the ball when so many of us simply could not. And Bryce, yes it was a bummer to see Evans go, but you gotta admit they gave him one hell of a character arc, am I right? They picked EXACTLY the right moment to give him the arm redemption.
I fucking loved this movie.
Kelly Masterson also got a WGA nomination for retooling Bill O’Reilly’s Killing Kennedy to turn it from trash to treasure for the National Geographic channel.
In the same way, although the French graphic novel, “Le Transperceneige,” was an interesting concept in its own right, Masterson’s screenplay just took the basic premise and expanded it into something completely original and unique. There’s a train and the there’s a frozen planet in the graphic novel but that’s the full extent of the things the novel and movie have in common. Masterson gave the material all the depth the graphic novel lacked.
::: SPOILER ::: SPOILER ::: SPOILER :::
And Bryce, yes it was a bummer to see Evans go, but you gotta admit they gave him one hell of a character arc, am I right?
If I know Bryce like I think I know Bryce, it wasn’t only Chris Evans’ character who left the movie too soon. I can think of two others characters who I wished I could’ve resuscitate mouth-to-mouth. But that’s what happens in R-rated sci-fi for grown-ups — actors actually die! Because in movies for grown-up we’re reminded that violence kills people.
Ah yes, RIP dear Jaime
EVEN MORE SPOILERS!!!!!!!
It occurred to me that murtaza may only have been referring to the fact that having a polar bear at the end neutralizes the conceit of the film, which is that life on Earth is now impossible because of that chemical we released, but I think all that means is that Minsu Namgoong was basically right that we COULD conceivably live in the outside world, and the rhetoric that life isn’t sustainable anywhere but the train is simply rhetoric designed to keep everyone on board and in their place, “on a train FOREVER”. So again, it doesn’t “defeat” the purpose of the film, or more accurately the conceit, it simply expands upon it.
and RIP Luke Pasqualino
ouch, that hurt me deep inside.
Yeah I couldn’t talk as to what people found objectionable about the ending/3rd act, but I would be careful in choosing which movie I subject to reality/logic tests or the seemingly “established rules” of the film. Remember timeless masterpieces likes 2001: A SPACE ODDYSSEY and THERE WILL BE BLOOD — films that in their last instants scape to a different realm (call it dreamlike, epiloguesque, etc) that might not be “consistent” with the rules of everything that happened before. Symbolism, saturation, exposition, and speechifying are often part of this escapades.
and yeah him too.
I would be careful in choosing which movie I subject to reality/logic tests or the seemingly “established rules” of the film.
I think we need to be lenient about holding a movie to stringent rules of reality when that movie has applied for a license to function as allegory.
OT : FINALLY the first trailer of The Disappearance of Eleanor Rigby has been released AND the twist ? It features three quotes from Sasha
I just saw thiz yesterday, and it’s frickin great!
A shoo in for production design and visual effect for me.
And tilda swinton once again did a tremendous job as a quirky bitcg.
I’m happy to see Ryan noticed Snowpiercer. THIS deserve to be the sleeper of the year, and actually it is one of the most necessary proposals in years. The Matrix mixed with Brazil and with one of the sharpest allegories of our society. Biggest merit is on the screenplay, therefore, on the french graphic novel it’s based on.
Is it there an actor in the film who doesn’t hit the right note? I don’t think so. Love, love the film, including the last third. And own it on Bluray already?
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