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Lately it’s become something of a ritual to complain about Hollywood’s endless output of sequels, remakes, and superhero films (none of which I have a problem with, as long as they’re competently and entertainingly executed). For those who are fed up, there’s only one way out of this situation, and that’s for people to support new, exciting films when they work their way into the local multiplex. Korean director Bong Joon-ho’s dystopian sci-fi flick Snowpiercer has finally made it to wide release in theaters stateside, and despite the delays and a complete lack of faith and marketing on behalf of U.S. distributor The Weinstein Company, it is unequivocally one of the best films I’ve seen this year.
Based on a French graphic novel, Snowpiercer’s setup is deceptively simple. After an attempt to control global warming plunges the world into a fatal new ice age, the remnants of humanity take shelter aboard a gigantic train that loops endlessly around the planet, completing a full circumnavigation once each year. The wealthy and privileged live in luxury at the front of the train, while the destitute masses live in squalor in the tail. As should be expected, unrest grows in the tail section, and reluctant hero Curtis (Chris Evans) steps up to lead the latest revolt against the oppressive conditions.
While the basic structure of have-nots versus haves has been seen before, Bong sets up a fully realized and engrossing world that exists in a straight, narrow line. From the crowded filth of the tail section all the way up through the pristine high-tech engine compartment, each section of the train is its own separate, detailed, and fascinating space. Because movement in this world only exists in two directions, there’s a constant tension to move the action forward to the next car and an anticipation for what will be revealed behind the door.
The unique location also gives Bong the opportunity to stage some engrossing action sequences. The rebels push forward while the ruling class’s thugs push back, and the results frequently get bloody. Bong doesn’t glamorize the violence, but he uses the claustrophobia and extreme close quarters to maximum effect. The availability of light and space are every bit as important as numbers and weapons, and when a new round of fighting kicks off, just catching a breath is a very real struggle.
While the visual feast would be enough to recommend the film, it also boasts an impressively deep cast working at their best. Evans may be playing a darker and more conflicted character, but the underlying decency that makes his take on Captain America resonate in the Marvel comic book films remains fully intact here. He’s matched by a fully over-the-top Tilda Swinton playing the most nightmarish administrator in recent film history. Supporting players include John Hurt, Ed Harris, and Jamie Bell, among others, each lending a realness to both the action and the fantastic setting.
In an ideal world, Snowpiercer would have gotten every bit the attention as Michael Bay’s latest Transformers explosion-fest. Instead, it almost ended up buried in a limited run by a distributor who didn’t think an American audience could handle two hours of intelligent and original science-fiction. Initial reactions have proven that wrong, and as Snowpiercer expands to more theaters, you’ve got the chance to take one of wildest and most inventive cinematic rides you’ll find all year.
