Chris Evans

Song Kang-ho

John Hurt

Tilda Swinton

Jamie Bell

Octavia Spencer

Ed Harris

Ewen Bremner

Go A-sung

Alison Pill

Luke Pasqualino

Vlad Ivanov

Adnan Hasković

Emma Levie

Steve Park

Clark Middleton

Marcanthonee Reis

Paul Lazar

Tómas Lemarquis

Kenny Doughty

Robert Russell

Magda Weigertová

Jim High

Peter Hallin

Haruna Honcoop

Ana Braun

Griffin Seymour

Tyler John Williams

Luna Sophia Bar-Cohen

Sean Connor Renwick

Karel Veselý

Park Sungtaek

Brian Foley

Kendrick Roger Ong

Seisuke Tsukahara

Tomáš Dianiška

Miroslav Navrátil

Huh Chan

Lucie Burianová

Jonny Loquasto

Parry Shen

Eunkyung Song

Dana Green

Joseph Bertót

Cho Yong-seok

Bong Joon-ho

Jeong Tae-sung

Steven Nam

Jean-Marc Rochette

Stefan Kovacik

Ondrej Nekvasil

Jacques Lob

Marco Beltrami

Steve M. Choe

Hong Kyung-pyo

Benjamin Legrand

Kelly Masterson

Jakub Dvorak

Kim Eun-young

Lee So-rim

Adela Háková

Park Tae-joon

Darina Hejlová

Cathy Seok

Gerhard Rupp

Petr Bouska

Francis Chung

Back Ji-sun

Bárbara Cruz García

Miky Lee

Catherine George

Robert Bernacchi

Huh Soo Young

Nam Seong-ho

Matthew Stillman

Choi Pyung-ho

Kim Yeong-don

Park Bo-eun

David Minkowski

Šárka Hudečková

Park Beom-su

Song Bo-mi

Kris Ghil

Beatrice Brentnerova

Armin Popp

Dooho Choi

Samuel Yeunju Ha

Krista Husar

Johanna Ray

Jiri Kotlas

Kwon Ju-hee

Jenny Jue

Kateřina Silná

Ludek Vomacka

Park Hyun-cheol

Pavel Tatar

Ryu Jae-jun

Hwang Kyu-young

Kim Seo-young

Kim Byung-han

Choi Tae-young

Gang Hye-yeong

Jeong Won-jo

Park Chan-wook

Lee Tae-hun

Kim Chang-ju

Lee Nae-kyung

Park Min-cheol

Yang Jin-mo

Kim Hyun-woo

Klára Palivcová

Julian Spencer

Jan Petřina

Pavel Cajzl

Lee Jeon-hyoung

Jan Rehanzl

Roland Safr

Juan David Salazar

Václav Čermák

Jiri Horych

Ivo Červenka

Jan Vojtěch

Michal Chadima

Jiri Pospisil

Josef Valta

Stanislav Hubacek

Jan Carda

Lee Jae-hyeok

Gabriela Poláková

Tereza Mala

Jaroslav Hromádka

Petr Zavřel

Eliska Kosinová

Jaroslav Ungr

Bogdan Stanciu

Paula Price

Jiřina Eisenhamerová

Courtney McClain

Jaroslav Potuzník Jr.

Ladislav Hrubý

Miroslav Pavlík

Action

Science Fiction

Drama

Snowpiercer

CJ Entertainment

Opus Pictures

Stillking Films

Moho Film

Union Investment Partners

Czech Republic

South Korea

English

Français

日本語

한국어/조선말

rebellion

parent child relationship

winter

brothel

child labour

pregnancy

dystopia

allegory

post-apocalyptic future

bridge

hijacking of train

rifle

based on comic

train

based on graphic novel

guilt

revolt

duplicity

tunnel

social class

population control

perpetual winter

city ruin

2030s

Gimly

Original IP Post-Apocalyptia as well as the 21st century can possibly dish it out.

_Final rating:★★★★ - Very strong appeal. A personal favourite._

Manuel São Bento

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

Snowpiercer is getting a TV adaptation soon, so now it's the best moment to rewatch one of the best movies in 2014. At the time, Bong Joon-ho wasn't exactly a famous director that everyone knew about. Therefore, the cast led by Captain America himself, Chris Evans, and the intriguing premise did all the work in creating the cult following it got. Ironically, I haven't watched this film since its release, so this is only my second time boarding its train. I'm going to start with the best thing that this movie possesses: its screenplay.

This is one of the most shocking films I've seen when it comes to delivering jaw-dropping twists, one after the other, exclusively through dialogue. As it would become a staple in Bong Joon-ho's filmography, his writing is so incredibly complex and multi-layered that it's truly a miracle that his movies end up making any sense. Snowpiercer (which is co-written by Kelly Masterson) has literally dozens of logical questions that any other film would not only fail to explain, they wouldn't even try to. With any other screenwriters, this movie would feel too far-fetched and hard to believe. But it's far from that.

Each character receives extraordinarily elaborate development, filled with mind-blowing revelations and eye-opening twists. Every line of dialogue, every picture, every camera movement, every shot, every scene matters. Everything the viewer sees or hears either means something or foreshadows an eventual payoff. Snowpiercer is the definition of "every shot counts". Don't you dare go to the bathroom without stopping the film first. You'll undoubtedly miss something significant. Absolutely brilliant screenplay and astonishing, well-written characters.


It's indisputably a narrative-driven story. Snowpiercer is a lesson in exposition. Even though there's plenty of action (I'll get there), it's a movie that relies on the viewer's ability to be captivated by dialogue. The concept is definitely unique, and the story is extremely captivating, but only if the viewer can understand the value of entertainment in listening to these characters while they go through their revolution... in learning who these characters were, are and will be. Just as an example, there's a third act's monologue performed by Chris Evans that not only delivers tons of information about his character, but it's also emotionally compelling to watch. If someone doesn't *feel* anything during this scene, then maybe Snowpiercer might not be the movie for you.

I find The Platform to have a similar concept. Instead of a train, it's a vertical prison, but the allegory of how society works is evident in both films. How politics, religion, and early education can control Humanity. The top/front people not only receive more than what they need, but they still overuse everything, completely ignoring the bottom/tail humans that need to fight for scraps. These films take entirely different paths, but Snowpiercer owns a much more complex narrative than The Platform. However, it's still interesting to see the comparisons between these two distinct approaches on a similar theme.

Nevertheless, for everyone that needs some sort of dynamic entertainment, this flick is also packed with action set pieces. There's a tiny bit of too much shaky cam for my taste, but overall, it accomplishes the mission of delivering the chaotic, energetic, claustrophobic environment that the action sequences need. It's a train, after all. It's not like they could produce massive battles in such a small space. In fact, the screenplay allows the crew to show some really creative, innovative techniques. The use of slow-motion (not only during the action scenes) elevates the movie, generating great suspense/tension, and it's perfectly timed (including a fantastic one-take sequence with Chris Evans).


Since I just mentioned him, might as well address his impressive performance. People might not remember this, but at the time of the film's release, Evans was interested in pursuing a directing career, setting his acting as a secondary role. While I do believe he's going to make a great director, I'm beyond happy that he continued to use his acting abilities. As with most of MCU's actors, I feel like he's pretty underrated considering what he has demonstrated throughout his career. Snowpiercer is just the tip of the iceberg. Chris Evans is a remarkable actor and much more than "just" a version of Captain America.

Tilda Swinton (Mason) also offers a quite interesting display, Octavia Spencer (Tanya) is fascinating, while the legend Ed Harris (Wilford) takes his short but effective screentime to prove how gifted he is, especially concerning plot exposition. He's always able to be captivating by merely opening his mouth. Marco Beltrami's score is riveting and memorable. The editing (Steve M. Choe, Changju Kim) is not only seamless, but it definitely helps the viewer better understand the story. Finally, the production and set design are impeccable, offering the "one-location", claustrophobic vibe that a train unavoidably has.

My only major issue involves the ending. It's quite impactful but also underwhelming and morally divisive. A particular decision that affects everyone in the train (basically, the entire Humanity) doesn't quite convince me that it's the best conclusion. It sort of diminishes some of the characters' efforts to get where they do, as well as the story's initial purpose. On one hand, it's an ending that raises a few questions in a movie that does a terrific job in explaining every little detail until this last moment. On the other hand, the train is far from giving a fair life to everyone...


In the end, Snowpiercer is not only one of 2014's best films but also one of the best of the respective decade. With a brilliant screenplay, Bong Joon-ho delivers an extremely complex narrative, filled with emotionally shocking character development, and featuring excellent stunt work. The underlying theme of how Humanity is controlled by how its society works (from politics to religion to education) cleverly accompanies the already twistful story. Snowpiercer is a phenomenal lesson in "exposition", and the definition of "every shot matters". Boasting jaw-dropping performances from everyone, especially from Chris Evans, every dialogue is remarkably captivating, packed with mind-blowing revelations, and an unbelievable effort in explaining every little detail regarding the train's functionality. This would undoubtedly be at the top of the decade's best movies if not for a morally divisive and somewhat underwhelming/questionable ending. Technically, an addictive score, amazing editing, and impressive production/set design put the final stamp of quality in a brightly original, unique piece of cinema.

Rating: A

Snowpiercer( 2013)

AD 2031, the passengers in the train are the only survivors on Earth.

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A review by Gimly

Written by Gimly on Mon Oct 08 2018

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