It’s a far-fetched idea, yes, but any film based on a popular graphic novel stretches the limitations of logic. “Snowpiercer” is no different, presenting a world frozen over by global warming with the remainder of the world’s inhabitants idling their time and surviving on a powerful train that criss-crosses the globe. Within this compartmentalized dystopian universe are classes divided by sections of the train and kept in line by armed forces serving the train‘s inventor, and it’s here that the eternal struggle between the haves and have nots plays out with kinetic, brutal force. “Snowpiercer”, long delayed and rumored to be a victim of widespread studio interference, emerges as a strong film with dazzling visual style, embedded humor and everything the fan-boy base could hope for…. Including a cute-as-can-be but kick butt young Asian girl (Ah-Sung Ko) and the everyman (Chris Pine) in which we can envision ourselves. I’ve long been a fan of Bong Joon-Ho, and here he continues to fascinate and elevate his material in unique and energetic ways. As the “tail section” people revolt their way to the front of the train, we’re given a variety of visual schemes, evil henchmen and plot developments. The violence is swift and brutal, continually challenging our expectations of who is the center point of the film. Just when we connect with someone, life in this rolling hell delivers a punch. And even though the comment on class divisions and social stratus is belabored, “Snowpiercer” eventually has a lot more on its mind. It’s one of the best films of the year and another notch in the auteur status of Bong Joon Ho.
As mentioned on this blog before, Texas cinema is about the longueur of life… hanging out, idling the days and the observation of developing relationships over periods of time. Richard Linklater is the undisputed master of this and with “Boyhood”, he undertakes his most ambitious marking of time yet. Filmed over the course of twelve years with the same core actors, “Boyhood” is a remarkable exploration of not only our preconceived notions of time in the movies, but how the tired clichés of a family drama can be inverted with truth and generosity. As Mason (Ellar Coltrane) grows up literally before our eyes, he deals with puberty, an annoying older sister (Linklater‘s own daughter Lorelei), introduction to the opposite sex and finally flying the nest for college. All these themes have been prolific in the annals of movie making, creating entire dramas out of each individual portion of life. In “Boyhood”, Linklater manages to craft an enveloping experience with them all. And it’s not only with the children, but in the failures, frustrations, and missteps of the parents as well. Ethan Hawke and especially Patricia Arquette provide strong roles as mother and estranged father, trying to hold things together as best they can in an ever-changing environment of spatial differences and asshole husbands. The word “experience” truly describes “Boyhood”. There are no huge third act emergencies or standard narrative shifts. Linklater simply allows the story to play out like real life, complete with small emotional breakdowns and skateboarding afternoons. It’s only after the quietly devastating final scene that I realized "Boyhood" wouldn't just stop there. We've watched these people grow up, and they'll continue on in real life.