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Snowpiercer (2013)

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Set in a future where a failed climate-change experiment kills all life on the planet except for a lucky few who boarded the Snowpiercer, a train that travels around the globe, where a class system emerges.

Director:

Joon-ho Bong (as Bong Joon Ho)

Writers:

Joon-ho Bong (screenplay) (as Joon Ho Bong), Kelly Masterson (screenplay) | 4 more credits »
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857 ( 136)
33 wins & 103 nominations. See more awards »

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Cast

Cast overview, first billed only:
Chris Evans ... Curtis
Kang-ho Song ... Namgoong Minsoo (as Song Kang Ho)
Ed Harris ... Wilford
John Hurt ... Gilliam
Tilda Swinton ... Mason
Jamie Bell ... Edgar
Octavia Spencer ... Tanya
Ewen Bremner ... Andrew
Ko Asung ... Yona
Alison Pill ... Teacher
Luke Pasqualino ... Grey
Vlad Ivanov ... Franco the Elder
Adnan Haskovic ... Franco the Younger
Emma Levie Emma Levie ... Claude
Steve Park ... Fuyu (as Stephen Park)
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Storyline

Set in 2031, the entire world is frozen except for those aboard the Snowpiercer. For 17 years, the world's survivors are on a train hurtling around the globe creating their own economy and class system. Led by Curtis, a group of lower-class citizens living in squalor at the back of the train are determined to get to the front of the train and spread the wealth around. Each section of the train holds new surprises for the group who have to battle their way through. A revolution is underway. Written by Anne Campbell

Plot Summary | Plot Synopsis

Taglines:

We move forward See more »

Genres:

Action | Drama | Sci-Fi

Motion Picture Rating (MPAA)

Rated R for violence, language and drug content | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site | Official site [Italy] | See more »

Language:

English | Korean | French | Japanese | Czech | German

Release Date:

11 July 2014 (USA) See more »

Also Known As:

Expresso do Amanhã See more »

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Box Office

Budget:

$39,200,000 (estimated)

Opening Weekend:

$14,842,419 (South Korea), 1 August 2013, Wide Release

Opening Weekend USA:

$171,187, 29 June 2014, Limited Release

Gross USA:

$4,563,650, 31 October 2014

Cumulative Worldwide Gross:

$86,758,912, 31 October 2014
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Sir John Hurt's character's name, Gilliam, is an homage to Terry Gilliam, a director whose filmography includes similarly bleak science fiction, fantasy, and end-of-the-world titles, such as Brazil (1985), Twelve Monkeys (1995), and The Zero Theorem (2013). See more »

Goofs

Wilford congratulates Curtis for being the first human being to walk the whole length of the train; however, Claude, Wilford's assistant, is seen at the tail of the train, as well as the front. Though Claude does not travel very far into the tail section and while she has been in every car, Curtis has been to the very back of the train, making him the only person to traverse its entire length. The children taken by Claude, however, were the first people to travel along the entire length of the train. See more »

Quotes

[first lines]
Male Reporter: Good morning. On this day, July 1st, 2014, at this hour, 0600, we are at the first airport in the world...
Female Reporter: The topic of so much controversy over the past seven years has continued development. Protests from environmental groups and a number of developing countries continue. But in accordance with...
Male Reporter: It had been claimed that CW7 is the answer to global warning. And we are witnessing it...
Female Reporter: Leaders argue that global warming can no longer be ignored. Today, 79 countries will begin ...
[...]
See more »

Connections

Remade as Snowpiercer (2019) See more »

Soundtracks

Goldberg Variations, Air and Variations Nos. 1-30 BMW 988
Written by Johann Sebastian Bach
Arranged by Jim Long
Courtesy of Crucial Music and Point Classics
See more »

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User Reviews

 
Makes "Elysium" look like "Sesame Street."
22 March 2014 | by Ser_Stephen_SeaworthSee all my reviews

If you thought that Neill Blomkamp's "Elysium" was a bleak enough dystopia, brace yourself for Bong Joon-ho's latest film. "Snowpiercer" is what George Orwell would write if he wanted to set "1984" aboard the mad Blaine the Mono from Stephen King's "The Waste Lands". Grim and fatalistic, this picture packs a chilly, compelling punch.

The apocalypse has already happened, with the planet transformed into a frozen block of ice over the next twenty years. The last dregs of mankind sought refuge aboard an ever-moving train (the titular "Snowpiercer") barreling through the icy landscape. The central conflict of "Snowpiercer" deals, of course, with a major class struggle, with most of the refugees hunkering in the ghettoized tail section of the train. The privileged few live in the front cars (I'm sure any similarities to the basic concept of the bus boycotts that started the civil rights movement are intentional), and the ragged masses congregating in the rear are sick of the oppression, and rebellion begins to foment.

The de facto "Everyman" leader is Curtis (Chris Evans), a taciturn fellow who quietly waits for the right time to strike. In the meantime, he acts as a big brother figure to his friend, Edgar (an eager Jamie Bell), while enjoying camaraderie with his fellow "tailies," including sweet-natured mother Tanya (Octavia Spencer, an unexpected but wonderful addition to a dystopian drama) and wizened elder Gilliam (John Hurt, always expected and always welcome in a dystopian drama). Almost immediately, this feels like a futuristic retelling of a drama set on a train bound for Auschwitz.

Indeed, any time the boat is rocked, Gestapo-like representatives from the front come to admonish the poor, huddled masses. They are headed by Mason (a wickedly over-the-top Tilda Swinton, who might very well be the most fiery character in the film), who seems to relish in her duties, which include forcing miscreants to shove their extremities into the frigid wastes while praising the all-powerful Wilford, the "Big Brother" figure of this story who inhabits the very front of the engine. Wilford also seems to order the cherry-picking of certain tailie children, never to return. Eventually, Tanya's son is taken, which sparks the revolution, which encompasses the first half of the film with vicious, "Oldboy"-esque brawls and rapturous moments of rebellion (there's one scene involving a kid running through darkness with a fiery torch; I swear, all it needed was a Vangelis score to complete it!). Once they have gained the upper hand, the rebels enlist the help of an drugged-up Korean engineer (Kang-ho Song) and his daughter to help them in their quest for the front.

"Snowpiercer" is beautifully imaginative with its rather simplistic story, and indeed, Bong Joon- ho gets to assemble a hodgepodge of dystopian bleakness and utopian bliss. Full credit to the set designers for creating distinct "levels" the further up the train our heroes go. And indeed, the Holocaust references really do hit home as the film goes on. One car, for instance, involves children being indoctrinated about how great their glorious leader Wilford is with a Hitler Youth-esque sort of rigmarole. Indeed, the fact that the cheeriest spot in the entire train is the potential source for future atrocity and oppression is made abundantly clear, and the pregnant, propaganda-spewing teacher (a beamingly insane Alison Pill) is ten times more terrifying than the axe-toting guards sent to subdue the revolt.

Chris Evans makes for a wonderfully stoic protagonist, and even though the role could easily fall into bland territory, I feel that his inherent "American"-ness that made him a wonderful choice for a certain Marvel hero hearkens back to the days of Charlton Heston. That said, he gets a heartfelt soliloquy in the end that stands as his finest bit of acting to date. The rest of the ensemble fleshes out their characters quite wonderfully; special mention must be made to Swinton's slimy Goebbels-esque surrogate, Spencer's lived-in dignity that aided her so much in "Fruitvale Station", and the appearance of a certain actor at the very end that puts a face to Big Brother at last.

There is naught a dull moment in "Snowpiercer"; by the halfway mark, so much has been packed in, and yet at the same time, it never feels too much. Harvey Weinstein wanted to cut twenty minutes of footage from the film and add a voice-over. "Snowpiercer", like "Blade Runner" thirty years before, isn't as inaccessible to audiences as one might think. It knows exactly what it is, exactly what it wants to be, and exactly how to show it. It may lack the spit-shine polish of "Blade Runner", but it makes up for it in sheer grit.


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