‘Snowpiercer’ is heading for disaster

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The Dystopia on the Trail falls into a deep abyss in its third season, lacking the final story ending in its fourth and presumably final session. The decision to limit the presence of some characters with charisma has left the public confused

Grab the viewer’s attention with an evocative first season, keep fans hooked and hook new devotees with a remarkable continuation, and fuel the fan phenomenon with a third episode that further expands audience reach. These are the three basic stages that must be overcome so that a series can penetrate without having to show great artistic virtues, and reach a large audience thanks to its presence on the Internet and word of mouth. Such an enlightened goal is not always entered, regardless of the quality of production. Many projects fall by the wayside, while others inexplicably remain on the roster. An example is ‘Snowpiercer’, the dystopian science fiction series offered by Netflix with an earlier film based on a comic. It was difficult to finish the first set of chapters in front of the screen. The erratic second wave of episodes set the fires by making some somewhat wacky decisions that led to some unexpected script twists, but this last installment was soporific. Forgoing Jennifer Connelly’s charisma, probably because the well-known actress needed a break to handle other tougher jobs, a long story with no clear criteria has been deadly.

The ability to see one premiere episode a week has made it possible to soften the sense of wasted time that the third season of ‘Snowpiercer’ is finally leaving, a nonsense compared to the starting material, which has lost energy like the train itself where the story unfolds. Let’s not forget that this futuristic story, perhaps just around the corner, as the world is lately, is part of the comic ‘Le Transperceneige’, the work of Jean-Marc Rochette and Jacques Loeb, published in an integral edition under Norma Editorial’s title ‘Snowbreaker’ in our market. Before becoming a series, it premiered in cinematic format, directed by Bong Joon-ho, in a number of selected theaters for these payments, with distribution by La Aventura – the same company that chose ‘Parasites’-. Park Chan-wook, responsible for the brilliant “Old Boy”, was already included in the featured adaptation as an executive producer, an invisible job that supposedly continues in the series story that concerns us along with Joon-ho himself, the main attraction to taste a fragmented production that distances itself from the film, which looked more careful visually, with latent black humor and shocking scenes.

The second season of ‘Snowpiercer’ ends on a climax, with a cliffhanger that is as free as it is effective. The third series of episodes leaves from there with little strain from the start. Connelly’s character is still missing, it is unknown if he is still alive or not. He appears in some visions of the adventure’s adversary, arguably the most obnoxious resistance leader in the history of the genre, played by Daveed Diggs. Despite his resume, this singer and actor, winner of a Grammy Award and a Tony Award for his roles as Marquis de La Fayette and Thomas Jefferson in the cult musical ‘Hamilton’, fails to elevate a role without grit, namely It goes down. . delivery by delivery. It becomes fatal to the spectator when the goal is the opposite. To make matters worse, in this last session a savvy screenwriter came up with the idea of ​​killing some much more interesting characters that have grown during the match and here they disappear… completely.

The leader of the colista revolt is unbearable. A revolutionary textbook that is effortlessly overshadowed by the rest of the cast. Fiction manages to participate if we forget the rational operation of the locomotive, among other technicalities. Everything that happens in the train’s machinery makes no sense. Any excuse is valid for letting it pass through the frozen landscape. The script twists are scarce this time around and the villain played by Sean Bean, the obsessive Wilford, loses power and fame. His Machiavellian plans cease to be funny, while the thick political references are softened and social criticism becomes a tambourine. Gone are some achievements such as the emergence of the female characters who took on an entity in their previous season. It’s still a soap opera, this time with fewer action scenes. In the next session, the fourth and final, the apocalypse will end.

‘Snowpiercer (2013) is a good action thriller with fantastic accents. It was shown in Spain in its extended version, without cuts or censorship. At the time, it was the most expensive title in the history of South Korean cinema, with an American co-production: a budget of $40 million, paid for at the box office in just ten days. In a post-apocalyptic world, with echoes of George Orwell’s ‘1984’ and Aldous Huxley’s ‘Brave New World’, the planet has suffered a terrible frost that wiped out virtually every living thing on Earth. Only a select few survive, and a few stowaways, on a long train that can never stop, or the ice will destroy the last that remains. Global warming has wiped out almost everything. The Snowbreaker circles the world, with an engine in perpetual motion, through a white desert. The carriages are divided into social classes, with the powerful at the top, enjoying worldly pleasures, and the poor in line, sunken in misery, an obvious metaphor. The series is also based on this idea, occasionally starring Jennifer Connelly. Raised after the worldwide success of the Oscar-winning ‘Parasite’, the Bong Joon-ho-directed version stars Chris Evans, Tilda Swinton, Jamie Bell, Song Kang-ho, John Hurt and Ed Harris.

‘Snowpiercer’ is available on Netflix.

Source: La Verdad

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