If Dickens would come back and see this description of misery against power, he would return to his grave totally disoriented ==== Si Zola ou Victor Hugo devaient voir cette description de la misère contre le pouvoir ils retourneraient dans leur tombe effarés.
this film reminds me the situation we are facing in here in Iran and as in Snowpiercer some weeks ago we had protesting against the current situation, government and regime , but they called us as agitators and rebellious and arrested most of our youngs and killed them in prison. i hope one day we will be victorious and i hope see this in movies.
Puissante adaptation d'une BD culte des années 1980, cet étonnant film d'anticipation coréen se présente comme un acre et désespérant constat du monde capitaliste actuel, ne se privant pas de pointer les étranges et clandestines collusions entre les pouvoirs en place et les oppositions en marge, pour maintenir un vicié système entre les démunis et les nantis, qui arrange finalement bien du monde. www.cinefiches.com
A bizarro fairytale that really showcases the director's no-holds-barred vision that seems so out of left field to a western eye. I could really have done without the main hero, (I'm sorry, Chris Evans), but otherwise there was a delectable cast of characters and the unrelenting pace and the clever use of train cars as increasingly more whimsical set pieces made up for the questionable plot.
I'm not a big fan of the goofy comic relief in Joon-Ho's films. I enjoyed the second half where they advanced through the surreal settings of the front train. I think I even spotted a Dali reference. The sequence with the engine and Ed Harris was good, the very last scene eiher made no sense or was very ambiguous.
Tried to give this film a second chance, but find it still very trivial and - regarding other films of Bong Joon-Ho - dissapointing. The train as metaphor for the world and the human struggle for life: that's not enough to make a good movie and doesn't bypass the gap between pathos and (unintentionally?) comical elements.
The distinctive look of the film is beset by flimsy, pompous writing that thinks it invented post-apocalyptic SF. Being unfamiliar with Le Transperceneige, I don't know if the adaptation or the source material is to blame. I'm inclined to believe the graphic novel had more time and room to evolve its themes and ideas into something coherent. At this point, I just don't care.