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Mu Zeta posted:What was with everyone celebrating new years in the middle of a fight Hey it only happens once a year man.
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Jul 6, 2014 02:44
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Mu Zeta posted:What was with everyone celebrating new years in the middle of a fight Yeah, this pulled me out of the scene and seemed to serve very little purpose.
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Jul 6, 2014 03:03
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Mu Zeta posted:What was with everyone celebrating new years in the middle of a fight It was cool and funny.
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Jul 6, 2014 03:05
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BrianWilly posted:I'm pretty sure that was their idea of being symbolic. "We're gonna gut you like a fish if you fight us" sort of thing. I thought there was some comment about the fish blood, like infection or poison or something. I must've misunderstood, psychological intimidation makes more sense.
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Jul 6, 2014 03:48
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Electromax posted:I thought there was some comment about the fish blood, like infection or poison or something. I must've misunderstood, psychological intimidation makes more sense. "Be careful" definitely got the biggest laugh of the whole movie.
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Jul 6, 2014 03:54
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Brother Jonathan started his own transportation empire. Good for him. Runs on time, too.
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Jul 6, 2014 06:42
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Uncle Boogeyman posted:It was cool and funny. Yeah, this. Sorry that the Korean-directed film had an appropriately odd dash of humor thrown in amongst its stark violence and nihilism.
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Jul 6, 2014 06:49
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Just got out of seeing this. I'd been hearing people talk about it for a while, and from the way people spoke of it, I guess I had it in my mind that this was going to be unique and interesting and one of the best movies of the year. But honestly, I was thoroughly bored through most of it. The premise is cool, but the way it played out just didn't do much for me. I didn't care about any of the characters because I didn't feel like I was given much of a reason to. Some of the fight scenes were exciting but not all of them. (And yeah, that pause in the fight to celebrate the new year was weird as gently caress.) Every time the outside ice-covered world was shown, I kept wanting to see characters go out there, but I guess that would've defeated the point since they wouldn't have been confined to the train the whole time if that had happened. (That finally happened at the end and that was about the most exciting part of the whole thing for me. I wish more of it had been like that.) Although one thing I did really like was the school children singing a song about freezing and dying if they leave the train and learning the history of the train and how important the train is, and then shortly after, the bubbly blonde school teacher taking out an Uzi and shooting people. The club scene was cool too. But those were the only fun moments in the whole 2 hours for me. They felt like they belonged in a different movie entirely because the rest of it was so boring. Same applies to the baby eating scene, but that definitely was not a fun moment  I don't know, I guess I just expected it to be a lot better from how I'd heard it talked about. It is unique and certainly more interesting than a good amount of the stuff in theaters now, but still, I didn't find myself caring about most of what was happening in it. I feel like the premise is strong and a much better movie could have emerged from it, but I can't see myself recommending this one or watching it again. Rageaholic fucked around with this message at 06:54 on Jul 6, 2014 |
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Jul 6, 2014 06:51
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There's something about sci-fi allegories about populist uprisings that almost always leave me dissatisfied. At least in cinema, where they usually seem to take the form of "man, wouldn't it be epic if we all took down The Man" stories that play out relatively uncomplicatedly aside from some Hollywoodish twists. In this film you have an aesthetic and at times tonal broadness paired with what struck me as one of the more refined perspectives on revolutionary struggle I've seen in a recent film. Here Bong, informed by his experiences as a student protester during the tail end of South Korea's days as a military dictatorship, examines revolution and revolutionary, and the challenges (deadly force, co-option, etc.) that inevitably transform (or maybe just reveal the true character of) both. The movie taking the form of a linear journey really dramatizes this nicely, by starting us when revolutionary fervor is about to make the pot boil over and ending us in a quagmire where nobody's fighting for ideology. Many of the ideas and images in it will strike you as recycled (I would say repurposed) and Bong is broad in making his point about the impossibility of change within a closed system, yet it's all incredibly apt and the carefully patterned thematic throughline makes it one of the freshest and most satisfying things I've seen in a while. In fact I'd go so far as to say it's extremely clever how Bong primes the audience for a meow-its-time-for-revenge style crowdpleaser (note how visually conventional the back of the train is) and then slowly turns it into a fractured fairytale about how, if you'll indulge me, The Master's Tools Will Never Dismantle the Master's House. Maybe that's why I sensed a good deal of restlessness from the multiplex audience I saw it with, and I don't just mean during the monologue-heavy ending. This was a really impressive movie, vividly made and ballsy and smart. And it's also a cracking good time - Bong makes sure the suspense, comedy and action all play. gently caress Harvey Weinstein. DNS fucked around with this message at 07:23 on Jul 6, 2014 |
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Jul 6, 2014 07:15
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I loving loved this movie. The CGI was iffy in spots but goddamn were the train cars past the first third loving beautiful. And they've got no bullets had my heart racing as gently caress. poo poo was intense.
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Jul 6, 2014 08:36
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DNS posted:There's something about sci-fi allegories about populist uprisings that almost always leave me dissatisfied. At least in cinema, where they usually seem to take the form of "man, wouldn't it be epic if we all took down The Man" stories that play out relatively uncomplicatedly aside from some Hollywoodish twists. In this film you have an aesthetic and at times tonal broadness paired with what struck me as one of the more refined perspectives on revolutionary struggle I've seen in a recent film. I wasn't 100% crazy about the film, but I definitely thought more than once "this is soooooooo much better than Elysium."
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Jul 6, 2014 13:25
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Vermain posted:It's not just Ayn Rand libertarianism, though: it is an analogy for the capitalist system itself. The "perpetual motion engine" - whose only purpose is to continue to turn itself - is a perfect mirror to capitalism's sustained cycle (the accumulation of profit for the purpose of the accumulation of profit, etc.), alongside it being sustained by literal slave labor hidden away from the rest of the world. It's why Curtis' decision to destroy the engine, rather than merely appropriating it for some "better use", is important. His radical act fundamentally redefines the world, opening up the space for a new society to emerge that isn't based on feeding human sacrifices to the engine of the train forever. Someone in another thread also made the point that the movie was unapologetic that not only were all of the antagonists white, but that even Chris Evan's white revolutionary character was briefly tempted by Wilford's offer until he truly saw the price that was being paid by the lower classes. Y'all are totally correct that the film isn't even a little subtle but I liked that a lot.
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Jul 6, 2014 15:11
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Pierson posted:Someone in another thread also made the point that the movie was unapologetic that not only were all of the antagonists white, but that even Chris Evan's white revolutionary character was briefly tempted by Wilford's offer until he truly saw the price that was being paid by the lower classes. The entire arm bit regarding this was amazing.
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Jul 6, 2014 15:15
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Uncle Boogeyman posted:I wasn't 100% crazy about the film, but I definitely thought more than once "this is soooooooo much better than Elysium." Yeah I think the bare fact of Elysium existing probably made me way more grateful for how this played out.
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Jul 6, 2014 16:09
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DNS posted:Yeah I think the bare fact of Elysium existing probably made me way more grateful for how this played out. Especially when you directly compare the endings of the two: Elysium has the most bullshit, naive happy ending possible for the scenario, and Snowpiercer manages to not only not have that but also strike a really good balance between it and pure cynical "you're all hosed" grimness. The final shots of the polar bear are really beautiful.
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Jul 6, 2014 16:14
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Neo Rasa posted:The entire arm bit regarding this was amazing. That was definitely one of my favorite little recurring symbols - the use of dismemberment to symbolize selflessness and self-sacrifice, and how it informed Curtis' character. Apart from that little bit, he's more or less your typical gritty, resolute action hero, but that's inverted when his earlier cowardice is revealed (when we finally learn the context for the scar on his arm). It really makes it click that he's just a sad, angry brute who's legitimately trying to be a better person, and his eventual sacrifice of his arm allows him to complete that journey. Watching it a second time is especially rewarding for seeing the way Curtis interacts with Edgar and Gilliam.
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Jul 6, 2014 16:16
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The only part I'm puzzled about, because it seems underdeveloped, are the two big axe guys who chase the girl around. The French comic ending is way more of a downer btw, and or typical twilight zone twist
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Jul 6, 2014 17:17
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so the middle school kids have to walk through an ecstasy dance club to get to class or what
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Jul 6, 2014 23:14
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I'm sure why or how many times his has to be said but they did not show every train in the car.
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Jul 6, 2014 23:18
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Honest Thief posted:The only part I'm puzzled about, because it seems underdeveloped, are the two big axe guys who chase the girl around. The French comic ending is way more of a downer btw, and or typical twilight zone twist What two big axe guys? You mean like the main henchmen?
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Jul 7, 2014 00:41
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Frostwerks posted:What two big axe guys? You mean like the main henchmen? yeah, mainly the one that even had a sort of mexican standoff when the train turned, their intent on getting the girl seemed to go beyond duty
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Jul 7, 2014 02:02
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Honest Thief posted:yeah, mainly the one that even had a sort of mexican standoff when the train turned, their intent on getting the girl seemed to go beyond duty It's because she killed his husband/partner in the new years carriage.
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Jul 7, 2014 02:26
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Annexed posted:I'm sure why or how many times his has to be said but they did not show every train in the car. I think this should be added to the OP.
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Jul 7, 2014 05:18
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Just in case anyone wasn't sure. I thought the ending might be a little harsh, maybe I should show some survivors. [Without translator] But actually: I killed them all! [Laughs] Except for two kids. From here http://www.vulture.com/2014/06/director-bong-joon-ho-talks-snowpiercers-ending.html
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Jul 7, 2014 05:26
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That's up there with "Yes he really was a replicant all along" in terms of shattering a million nerds' fan fictions.
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Jul 7, 2014 05:38
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Annexed posted:Just in case anyone wasn't sure. Doesn't matter. That's not supported by the text. The only thing that matters is what he showed on the screen, and the film left it ambiguous.
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Jul 7, 2014 06:07
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Megasabin posted:Doesn't matter. That's not supported by the text. The only thing that matters is what he showed on the screen, and the film left it ambiguous. I think they make it pretty clear what happened. I kind of am glad to read that is how the director planned it as well. Even though I didn't particularly like this movie I still am thinking about it. How does the french comic end?
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Jul 7, 2014 06:38
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Humanity has royally hosed up and humanity absolutely deserves to die. Awesome movie, perfectly made to make the kind of people who sperg about plotholes have their heads explode. One of the characters is named Gilliam, that should be a telling sign for anyone.
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Jul 7, 2014 06:57
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Has someone asked him about why Yona is psychic yet?
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Jul 7, 2014 07:03
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As a Socialist, I absolutely loved this loving movie. Ed Harris' role really makes this feel like a spiritual remake of Walker. One almost gets the feeling that like William Walker, Mr. Wilford started with almost benevolent intentions, but tough decisions stripped away his ethical fortitude little by little until, like Walker, he found himself running a stratified dictatorship on the backs of slaves. I see shades of a Christian allegory here too, but as a non-Christian I don't know that I can credibly discuss them. I can't decide whether Wilford symbolizes God and Gilliam Satan or the other way around, but that Lucifer started as an angel seems relevant either way. Curtis clearly functions as a Christ figure on top of the obvious political symbolism, especially with him "dying for our sins." Ccs posted:This movie was pretty great. The visuals and acting was fantastic. I gotta wonder if anyone besides the girl and boy at the end actually survived the train crash though. 2 people is not enough to repopulate the world. Not enough genetic diversity and whatnot. I know it's a movie, but it's sad when it's supposed to be hopeful because two people of the opposite sex survived, but actually humanity is doomed. BrianWilly posted:God, I'm almost afraid to see what CineD is going to say about this film, but I really loved it. There are parts of it that does kinda border on being too "on the nose" and there's at least one part near the beginning where a character was like "Cigarettes went extinct a long time ago!! I can't believe he has one!!!! Atoramos posted:So I guess we're supposed to assume Gilliam told Curtis to cut out Wilford's tongue to prevent him from learning the truth. I felt some parts of the movie were a bit overblown (the cult-like worship of the train), but I understand why they're necessary plot point, potentially adapted straight from its source. The movie repeatedly pushes hard on suspension of disbelief, but it seems like that's a mainstay of the genre. Cheston posted:He saves the kid, but what else is there? Forget trying to change the system or undo eighteen years of propaganda by himself, could he even stay sane knowing what he knows? Is he even sane by the time he gets the offer? It doesn't matter how big or small or distant the chance for a middle option was- Wilford took it away.) Vermain posted:It's not just Ayn Rand libertarianism, though: it is an analogy for the capitalist system itself. The "perpetual motion engine" - whose only purpose is to continue to turn itself - is a perfect mirror to capitalism's sustained cycle (the accumulation of profit for the purpose of the accumulation of profit, etc.), alongside it being sustained by literal slave labor hidden away from the rest of the world. It's why Curtis' decision to destroy the engine, rather than merely appropriating it for some "better use", is important. His radical act fundamentally redefines the world, opening up the space for a new society to emerge that isn't based on feeding human sacrifices to the engine of the train forever. Hewlett posted:Yeah, this. Sorry that the Korean-directed film had an appropriately odd dash of humor thrown in amongst its stark violence and nihilism. You convinced me to see this movie, and now I agree with every word of this post. There's one happy ending! EDIT: Sorry for the length of this post, but holy gently caress did I love this movie. I mean, I really seriously loved it!
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Jul 7, 2014 07:15
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CloseFriend posted:I actually found the cult one of the most thematically fitting little touches. You know the old quote about religion and opiate of the masses. History has shown that if you really want to control a people, you make them feel like the status quo will get them into Heaven. All of the weird worship of the train seems totally insane, of course, but what other word would describe modern support for the capitalist system besides "cult"? The classroom scenes are exaggerations of the sort of things taught in modern schools: that anything outside of the current system will only bring death, that great entrepreneurs are the source of humanity's survival and success, etc. Vermain fucked around with this message at 07:25 on Jul 7, 2014 |
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Jul 7, 2014 07:22
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One thing I forgot to say: I will never look at a Coors Light commercial the same way again.  Vermain posted:All of the weird worship of the train seems totally insane, of course, but what other word would describe modern support for the capitalist system besides "cult"? The classroom scenes are exaggerations of the sort of things taught in modern schools: that anything outside of the current system will only bring death, that great entrepreneurs are the source of humanity's survival and success, etc.
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Jul 7, 2014 07:54
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Honest Thief posted:The only part I'm puzzled about, because it seems underdeveloped, are the two big axe guys who chase the girl around. The French comic ending is way more of a downer btw, and or typical twilight zone twist
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Jul 7, 2014 09:15
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As someone who started out going to school during the era when Atomic Bomb drills were still practiced and just as school shooting became regular events, the elementary school scene was at turns hilarious and frightening. The setting time aside during the middle of a fight to honor shared holidays was very Christmas armistice. I enjoyed the story of personal transformation the protagonist goes through. It was basically "Combat Liberalism" the movie. The Walking Dad fucked around with this message at 14:18 on Jul 7, 2014 |
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Jul 7, 2014 14:16
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BrianWilly posted:Has someone asked him about why Yona is psychic yet? I enjoyed the movie overall, but this and the absolutely unnecessary resurrecting henchman were the two things that really didn't work for me. Everything else I didn't love is just nitpicks, but those two have no function in the story at all and only serve to make an already credulity-stretching premise nearly fall apart. I'd have no problem if they went 100% on those, but to me it felt like I was watching a version of the film with some significant subplots cut out. Speaking of cuts, does anyone know exactly what Weinstein's cut of this would have changed? feedmyleg fucked around with this message at 16:05 on Jul 7, 2014 |
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Jul 7, 2014 16:03
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Electromax posted:I thought there was some comment about the fish blood, like infection or poison or something. I must've misunderstood, psychological intimidation makes more sense. I didn't really get it at first either, but I think it alludes the moment a little bit later in the film where they go to the underwater ecosystem and have the sushi. It's them killing off "the fish" in order to maintain balance of the delicate ecosystem of the train.
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Jul 7, 2014 16:31
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feedmyleg posted:Speaking of cuts, does anyone know exactly what Weinstein's cut of this would have changed? The Wikipedia article mentions cutting out about 20 minutes of the ending and adding a closing monologue, presumably in order to make it seemingly less dire and more palatable. I'd imagine it would be the equivalent of Scorsese being forced to add an ending scrawl to Taxi Driver that talks about Travis Bickle being charged with multiple counts of murder and being sent to a nice mental hospital where he was gradually able to overcome his PTSD and become a functioning citizen again.
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Jul 7, 2014 17:43
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Vermain posted:The Wikipedia article mentions cutting out about 20 minutes of the ending and adding a closing monologue, presumably in order to make it seemingly less dire and more palatable. I'd imagine it would be the equivalent of Scorsese being forced to add an ending scrawl to Taxi Driver that talks about Travis Bickle being charged with multiple counts of murder and being sent to a nice mental hospital where he was gradually able to overcome his PTSD and become a functioning citizen again. In a world where Blade Runner's theatrical release and final cut exist I can't believe this is real. I mean I CAN man that's quite stupid.
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Jul 7, 2014 20:04
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Medoken posted:As Curtis journeys from the tail of the train to its engine we learn more about the unique culture that has grown aboard this perpetual-motion coffin - things like the disgusting origins of the ubiquitous protein bars, the growth of hallucinogenic industrial waste, and the reason this train was built in the first place. I saw this movie last night, I thought it was okay but wasn't completely enamoured by it or anything. Definitely addresses some interesting issues though. The one thing that surprised me was Curtis' reaction to the "disgusting" origins of their food. Wasn't it just insects? As far as I know, insects are considered the "food of the future" and are already an important source of protein in some parts of the world. If anything, that was a reasonable portrayal of what mass-produced food might be like someday. I guess the broader issue was that they were essentially being force fed some highly processed mystery food and it wasn't what he expected, but still, I don't think it's as bad as he made it out to be 
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Jul 7, 2014 21:42
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paperfax posted:I saw this movie last night, I thought it was okay but wasn't completely enamoured by it or anything. Definitely addresses some interesting issues though. Roaches are gross dude, I don't care how much Andrew Zimmern you watch.
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Jul 7, 2014 22:07
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