Actually, half of No Award went to the pub, then we met up in a cocktail bar, then we went to the movies. (Stephanie’s post is coming … soon.)
None of this pre-movie drinking was enough to make Snowpiercer live up to its hype.
The rest of this post contains spoilers, because it’s not so much a review as a reaction, and occasionally I just need to stand back and go, “Okay, really? SERIOUSLY?”
Sometimes it seems like Tumblr fandom has very low standards. Like thinking that Pacific Rim, a movie where a whole lot of people of colour die and a white dude has manpain, is a shining beacon of progressivism and representation. See also: giving Team Welcome to Night Vale cookies for being nice to queer people. Who hurt you, Tumblr? Who let you think the bare minimum was good enough?
In this case, we know who taught that lesson: Hollywood. But by accepting the framing of the original cut of Snowpiercer as original and inclusive and brilliant, we’re just continuing to let them write the narrative.
Snowpiercer is a movie about Chris Evans, white guy, leading a revolution inspired by his mentor, John Hurt, white guy, against Ed Harris, white guy. Along the way, Octavia Spencer plays a Mother Who Loves Her Son and Kang-ho Song and Ah-sung Ko play Asian Supporting Characters With Useful Arbitrary Skills And A Subplot Of Their Own That Isn’t Really Explored In Depth. And Tilda Swinton spends a third of the movie chewing the scenery, which is brilliant and delightful and kind of just highlights how by-the-numbers everything else is. Except that it’s on a train, which is cool because trains are great.
This is a movie that pulls its punches. The oppressed tail end passengers are fed on protein bars, black gelatinous strips that don’t remotely resemble the western food craved by Chris Evans and Jamie Bell. When the revolutionaries reach the car where these protein bars are manufactured, we learn the HORRIFIC and TERRIBLE TRUTH about their origin: they’re made from cockroaches.
Okay, that’s pretty gross, but between you and me, I was expecting to find out they were made from the children abducted from the tail section in the first act. Given a choice between “starvation” and “cockroach jelly”, I’ll take the jelly any day. Hell, cockroaches are a delicacy in some parts of the world. So the montage of ignorant revolutionaries happily gorging themselves on protein bars while Chris Evans looks on in silent judgement is hardly warranted. We don’t need you to be our food police, Scruffy Chris Evans Revolutionary Dude.
Now, try not to be too shocked when I tell you that the passengers in the forward section of the train aren’t eating cockroach jelly. They’re eating sushi, fresh fruit and steak. The train is a metaphor, you see, for class and oppression, which is why there are multiple speeches about people having pre-ordained places that they just have to accept. If this is the cut that Harvey Weinstein thought too complex for the average American viewer, I’d hate to see the edited version.
As it happens, Chris Evans’s pre-ordained place is Revolutionary Leader and Future Train Leading Dude, as arranged between Ed Harris and John Hurt. This is probably not intended as a metaphor for white patriarchy, but it works surprisingly well. I can’t say I really cared, but that’s because Curtis the White Revolutionary Played By Chris Evans just isn’t very interesting. And I can’t really blame Evans for that — he seems like a delightful human labrador, and very nice and all, but he’s not really a guy who can rise above a mediocre script. And this script was thin as paper.
Not to mention lazy. Security specialist/drug addict Namgoong Minsu is awoken from stasis to assist the revolution; a few scenes later, he tells his daughter, Yona, about a landmark he looks for “every year”. Except the unstated number of years he was sleeping, I guess. Yona, at 17, is too young to remember life before the train … except she can’t be exactly 17, because she too has been in stasis. In a couple of scenes, Yona demonstrates clairvoyancy, which doesn’t seem to surprise or amaze anyone. Later … nothing. Towards the end, Ed Harris congratulates Curtis on being the first human being to travel from one end of the train to the other. But earlier we saw his sidekick Claude, memorable for being a beautiful plump woman in a striking yellow coat, visit the tail end. Now she’s there, in that very scene, at the front. Are fat women not human beings? No, it’s just this impossibly careless script.
The most shocking thing the movie does is kill off most of the characters and leave only Yona and Timmy, an adorable black child, alive. Well done, I guess, but what is the point? Yona has had no arc of her own; Timmy was barely in the movie.
I’m pretty bummed that I didn’t enjoy Snowpiercer more, because I was really looking forward to seeing it. I’m tired of properties being hailed as incredibly original or progressive or even simply good, and then finding, no, they’re just mediocre. I like big, dumb movies, and I enjoy finding the shreds of intelligence that exist within them — the opposite experience is just depressing. Snowpiercer had some really great scenes, but I almost wish I’d walked out after Tilda Swinton died, so I could imagine a much better final third in place of what we actually got.