[…] If Snowpiercer had merely told the tale of an oppressed working class rising up to seize power from an evil overlord, it would already have been an improvement over most of the political messages in mainstream cinema. There are all sorts of nice touches in its portrayal of a declining capitalism that can maintain its ideological legitimacy even when it literally has no more bullets in its guns.
But the story Bong tells goes beyond that. It’s about the limitations of a revolution which merely takes over the existing social machinery rather than attempting to transcend it. And it’s all the more effective because the heart of that critique comes as a late surprise, from a character we might not expect.
[…] All too often, explicitly political art fails as both art and politics. Socialists shouldn’t put up with half-assed imitations of popular genres, nor with political messages denuded of anything but the lowest common denominator.
What makes Snowpiercer satisfying is that it commits neither error. It’s an engrossing and stylish movie, and its underlying themes go beyond merely pointing out class exploitation to challenge the logic of capital. It’s a movie that should be seen as widely as possible, if only so that Bong Joon-ho gets more chances to make movies for English-speaking audiences that badly need them.