Snowpiercer | Now in Theaters and VOD

[MrPink]

No praise for Jodie Foster's accent? For shame, Pink.

Couldn't even enjoy it on a so bad merit, it was just bad. I admire Jodie Foster too much to even defend it on any aspect

[Sam]

Also, I hope to see Chris in more movies like this. He was great and nailed that dialogue. With different roles in the past and this one, he certainly showed (to me at least) that he has range. I love him as Steve Rogers, but I'm also glad that role open doors for him, so I wouldn't mind if he won't extend his time as Cap once the contract ends, in fact, would be great if he does more roles in smaller movies like this instead.

[Ezen Baklattan]

Glad you loved it, Sam,

 

*minor spoilers*

 

Also, I thought that the inclusion of not just stereotypical upper class snobs near the front of the train, but also partying druggies, was an interesting touch, and it's a clever noticing of the association of privilege that connects to the wild party lifestyle.

[Sam]

Glad you loved it, Sam, *minor spoilers* 

Also, I thought that the inclusion of not just stereotypical upper class snobs near the front of the train, but also partying druggies, was an interesting touch, and it's a clever noticing of the association of privilege that connects to the wild party lifestyle.

Definitely. I need to rewatch it, I'm sure I missed some small subtle details. How do you rate it among Bong's movies? I still think The Host is his best (it'll be hard for him to top that) I'll rate this about on par with Memories of Murder, maybe slightly below, but we'll see if it improves upon rewatch. Bong's movies always give me a melancholic feelings after watching them for some reasons.

[Ezen Baklattan]

I've only seen The Host.   I think I liked this more, though, and I want to catch on to more of the symbolosim.

[The Panda]

Well, for what it's worth, nothing and no one in Snowpiercer approaches the masterful level of Sharlto Copley. Tilda Swinton comes pretty close, but still, no cigars.

Sharlto Copely wasn't even that good in Elysium, it was just because Jodie Foster was terrible...

[The Panda]

I've only seen The Host. I think I liked this more, though, and I want to catch on to more of the symbolosim.

Short explanation

The idea is the train represents the world, people humanity (Wilfrod even says it), you have a constant struggle between two sides, back and front (could be symbolic for left v right, commie v capitalist, democracy v fascism) one side gets angry and feels abused so they rise up and take control only to find once they are in control they have to run the world the exact same way.No matter if the head in control is communist or capitalist, the poor suffer, and a rich minority who often don't deserve it thrive and abuse the poor. The classes exist because that's how the system works and there is no way to change it without everything crashing. (The train crashing)It appears to our eyes that any other way is impossible (the outside deadly winter, perceived lot unsurvivable) however the only way to truly change the system is to leave the train and start newly. (Hence everyone dying except the two children, a symbol for a new Adam and new Eve with the polar bear being a symbol of hope for survival without the old systems, entering a new Eden).That's at least what I got out of it in a nutshell there's a lot more in there.

[Goffe]

Weinstein might be right in that most Americans won't get the film

that's something really stupid to say. Why target only Americans?

[The Panda]

that's something really stupid to say. Why target only Americans?

Mainly because whenever I look at the reactions from general domestic audience memebera they have hated it for either not getting it or they think they get it and completely miss the point.

[Ezen Baklattan]

Short explanation

The idea is the train represents the world, people humanity (Wilfrod even says it), you have a constant struggle between two sides, back and front (could be symbolic for left v right, commie v capitalist, democracy v fascism) one side gets angry and feels abused so they rise up and take control only to find once they are in control they have to run the world the exact same way.No matter if the head in control is communist or capitalist, the poor suffer, and a rich minority who often don't deserve it thrive and abuse the poor. The classes exist because that's how the system works and there is no way to change it without everything crashing. (The train crashing)It appears to our eyes that any other way is impossible (the outside deadly winter, perceived lot unsurvivable) however the only way to truly change the system is to leave the train and start newly. (Hence everyone dying except the two children, a symbol for a new Adam and new Eve with the polar bear being a symbol of hope for survival without the old systems, entering a new Eden).That's at least what I got out of it in a nutshell there's a lot more in there.

That's pretty much what I got as well. It's an interesting , albeit grim, representation of human nature and the process of political and social revolution.

[kaijukurt]

So glad to see many of you guys enjoyed it!

[Hilderic]

Does this have any market left where it could make money? I'd like it to reach $100m WW.

[chasmmi]

There's still hope for a UK release but it may not happen

 

 

On the plus side, a 1M weekend seems pretty strong to me.

[grim22]

Snowpiercer will hit VOD on July 11 truncating the theatrical run. The theatrical release almost seems like it is fulfilling an obligation.

 

 

 

“We enjoyed an incredible turnout over the holiday and will be expanding to more theaters and screens this coming weekend,” Quinn said in a statement. “Ironically,Snowpiercer is a good parallel for film distribution. You’re either at the front or the back of the theatrical pipeline (ed. note: the film is built around a class conflict in a train that circles the ruined planet). Everything is either a limited or a wide theatrical release with zero room for anything innovative or nuanced.  So, we at RADiUS decided early on to do something completely different with this release.  By truncating Snowpiercer’s theatrical premiere to 2 weeks and then launching VOD this coming Friday on July 11th (yes, for those of you who’ve been asking…it’s really happening!) we’re embracing both the benefits of a platform theatrical, but also the merits of going SUPER WIDE by making it available on more “screens” than any movie this summer. Jeffrey Katzenberg predicted this kind of release might be something we (would) see in 10 years time. The train’s ahead of schedule.”

[Empire]

Snowpiercer will hit VOD on July 11 truncating the theatrical run. The theatrical release almost seems like it is fulfilling an obligation.

Yes, now I won't have to wait long to see it or drive far to see it.

[TalismanRing]

http://blogs.indiewire.com/thompsononhollywood/arthouse-audit-life-itself-leads-new-releases-while-begin-again-and-snowpiercer-show-life-20140706?page=2#

 

 

"Snowpiercer" (Radius/Weinstein) - $998,325 in 250 theaters (+242); PSA: $3,993; Cumulative: $1,501,844

 

Last week was no fluke. This quick expansion of Bong Joon-ho's ice-age-survivors-on-a-train story resulted in a very impressive number once again. The numbers are below "Begin Again," but it's astounding considering the normal level of performance of the theaters playing it. The film's Video on Demand availability on July 11 means most of the usual theaters that play top specialized films aren't present -- including the Landmark chain. Within that context, these numbers suggest that had this gone a normal theatrical pattern (with an expedited and well-supported marketing campaign) the potential was there for a $20 million-plus crossover appeal film.

 

Last summer, Weinstein, after authorizing a reedited cut for US theaters, opened Wong Kar-wai's "The Grandmaster" and went as wide as 800 theaters with a $6.5 million gross. That's impressive for a subtitled film. "Snowpiercer," which Weinstein finally didn't cut, is in English, with a combination of great reviews and some action/genre appeal (both ahead of "Grandmaster") yet seems to have been relegated, at least theatrically, to a second-tier treatment.

 

The strong opening suggests significant interest, particularly from younger (less typical) specialized moviegoers, exactly the kind of viewers who gravitate to streaming services. And, though it might not have been the intent, the pattern here -- top-drawer film gets attention, even without great theaters, then quickly goes to VOD (which is not the established method -- usually films either go VOD at the same time, or perhaps after one week; third week or soon after is quite unusual) -- could if successful end up being used for other films. That would be risky -- as the playoff here shows, it cut outs many of the best specialized theaters. But this might turn out overall to become one of the most telling releases of the year.

[Sam]

LOL?

[TalismanRing]

Snowpiercer will hit VOD on July 11 truncating the theatrical run. The theatrical release almost seems like it is fulfilling an obligation.

 

Pretty much and oh the spin - like they're doing the film justice or a favor by eviscerating it's theatrical roll out and legs after making it start at the back of the train to begin with in terms of theaters and advertising.

[grim22]

http://blogs.indiewire.com/thompsononhollywood/arthouse-audit-life-itself-leads-new-releases-while-begin-again-and-snowpiercer-show-life-20140706?page=2#

Seriously, god only knows what Weinstein was thinking. Releasing it in Arclight and Landmark would have made for a decent theatrical run. They could also have benefitted from people who saw it in theaters buying it on VOD. Really strange.

[Tau Ceti]

Does this mean that, literally, it disappears from theatres on the 11th? Is the Canadian release on the 18th out? What a shame, if so. I don't do VOD. I was very much looking forward to seeing the real deal in theatres.