Name: Amazon.com: Snowpiercer [Blu-ray] : Chris Evans, Tilda Swinton, Jamie Bell, Ed Harris, Octavia Spencer, John Hurt, Bong Joon Ho: Movies & TV
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Rating: 4.3 (8739 reviews)

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Product Description

The film is set in the future (AD 2031) where, after a failed experiment to stop global warming, an Ice Age kills off all life on the planet except for the inhabitants of the Snowpiercer, a train that travels around the globe and is powered by a sacred perpetual-motion engine. Its inhabitants are divided by class; the lower-class passengers in one of the last cars stage an uprising, moving car by car up to the front of the train, where the oppressive rich and powerful ride.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ R (Restricted)
Product Dimensions ‏ : ‎ 0.6 x 5.3 x 6.7 inches; 2.82 Ounces
Item model number ‏ : ‎ ANCH62263BR
Director ‏ : ‎ Bong Joon Ho
Media Format ‏ : ‎ Blu-ray, Widescreen
Run time ‏ : ‎ 2 hours and 6 minutes
Release date ‏ : ‎ October 21, 2014
Actors ‏ : ‎ Chris Evans, Tilda Swinton, Jamie Bell, Ed Harris, Octavia Spencer
Studio ‏ : ‎ ANCHOR BAY
ASIN ‏ : ‎ B00M7D824O
Number of discs ‏ : ‎ 2

Best Sellers Rank: #59,571 in Movies & TV (See Top 100 in Movies & TV)
- #18,429 in Blu-ray

Customer Reviews:
4.3 8,739 ratings

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4.3 out of 5

8,739 global ratings

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Blu-Ray Comparison for Five Star Film

Reviewed in the United States on June 1, 2014

Verified Purchase

FILM: (Skip directly to Blu-Ray comparison and Update sections if not interested in a random film review that shouldn't mean anything to you anyway.)

What can I say? This is a science fiction/action film and, somehow, with the incredible direction, production, cinematography, set design, score and, of course, acting, it is really a drama. If someone asked me, I'd wouldn't know what to say. It is as though they took high art independent film drama, impressive all by itself, and transformed it into a sci-fi/action/thrill-ride without diminishing the drama or adding needless comedic silliness. I don't know what to call this but, without doubt, it is the best film I've seen in theater in over a decade. I've seen approximately 100 films that way in that time. It is in the top twenty I've seen in the last decade overall, including all dvd and blu-ray options and television commercial free airings. I've seen approximately 500. The writing is excellent, not surprising as it is Bong Joon-ho's adaptation of a decade's old graphic novel that people still talk about. The direction is excellent, again, thanks to writer/director Bong. The acting is, you guessed it, excellent and you can skip down to the Blu-ray section if that is unimportant to you.

Starting with John Hurt, I can only say he is perfect, as he always is. (Anyone who can make Doctor Zero--the one we've never heard of before--pop off the screen, dwarfing both the 10th and 11th doctor to such an extant one might actually forget they were even there, is an actor who doesn't need my praise. He is an acting god.)

Tilda Swinton is magic, pure and easy. She makes it seem as though her job is fun and simple when it is a tremendous effort born of intense planning and practice and in this role she shines, as in all others.

Chris Evans, an actor too often misunderstood in his style, is true to form in his decision to always analyze the emotion before attempting to play it, rather than just tossing whatever imitation came to mind while sitting in a back-lot caravan on break or sleeping, up at the camera, out to the audience, as though we can't tell if the feeling is appropriate for the character in that moment. My favorite example of mindful acting, for him, is The Loss of a Teardrop Diamond, in which he showcased a brilliant ability to play repression without mistakenly conveying depression, an error nearly every actor out there has made at one time or another, generally when they are very young. In Snowpiercer, with similar mindfulness, he seeks to convey a man beaten down to nothing, having pulled himself back up, under the guidance of a revolutionary and father figure, into a creature of will. He has one goal, to lead the revolt, leave the past behind him and fight his way to the front of the Snowpiercer, the massive train you've read about in the other reviews. As he moves through the train, so does he move through his past life, slashing and crushing and tearing at the constructed reality he left behind 18 years ago, when the world ended and his nightmare version of life, a terror that would become the truest reality he could ever have experienced, swelled up around him and swallowed him. We see none of this, of course, or it wouldn't be a great performance. He doesn't flash back or have long conversations about afternoons wandering the hillsides, but he shows us in the absence of joy and the glances away from reminders of what once was, in moments of planning and flailing and moments of internal reflection, without having to rely on these tools of inadequate performance. To see him alongside actors who can be legitimately labeled as perfect, never failing, never faltering, having worked at it for so many years that any writer or director would believe they had won the lottery to have them, Hurt and Swinton and, in the very end, Ed Harris (who I adore), showcasing talent on their screen, Chris Evans, the only Avenger to ever look around him in moments of false and manufactured humor with an expression of "why am I here", while the clowns danced around him, was magnificent and, for that very reason, for being one of the Marvel actors who don't have the opportunity to give you something real, he deserves praise. I am impressed and that doesn't come easy for me. I used to say he's a good actor, citing indie films and random moments in Captain America that almost made it something people might remember in a hundred years, but no more. He is an actor, a true actor, a great actor and, even surrounded by this unbelievable cast of performers, he shines, holds his own, dominates the film and never fails to give the best, highest, most appropriate line reading, literally pitch perfect, even with all that running.

So, if you enjoy science fiction and drama, if you enjoy films that take themselves seriously and don't overcompensate for a weak plot with out of place comedy, if you enjoy films in which characters understand the gravity of their situation and have actual feelings, if you enjoy films with action and excitement interwoven with political and social and religious and philosophical explorations presented through story and idea rather than endless prattle or speeches meant to explain or talk down to an audience the producers believe is made up of morons, if you enjoy storytelling without all the cliché and giant robots... well... congratulations on not being a tool. Also, go see this movie or purchase it and enjoy just as soon as you can. I hate seeing films in theater for too many reasons to list but I saw this one and I will see it again, so take that for whatever it is worth. On to the Blu-ray releases.

Blu-Ray: (Read here for Blu-ray comparison, absent my pontification, for the most part.)

There are now several Region A options available including a Hong Kong release, Japan release and the Korean Kimchee releases. All but one are priced, it would seem, by mental patients and are only worth it if you are filthy stinking rich (which I am not so, moving on). There are also several Region B options, unfortunately, without subtitle options in English, as no UK release has arrived or even been announced. And so, back to the Region A options. Of the Region A options, Hong Kong by Panorama is the only one priced to purchase (yup, it is actually the cheapest at $36). However, as the only release with English subtitles for under $40, it is important to note that the subtitles can either be off or on... that is to say on screen, for the whole of the film or off screen. In theory, you could pause the film and change the settings repeatedly while watching but we both know you are not going to do that. (I'm certainly not.) These English subtitles that are, for whatever reason, so hard to find, are not "forced" subtitles that can never be turned off, but they are continuous in that they cannot be removed once turned on without pausing the film to remove them. To clarify, you can watch and not understand what I consider to be a large enough portion of the film that I was unhappy with this or you can watch and understand via subtitles that cannot be removed for the English portion of the film (which you already understand if you are a region A viewer who cared enough to purchase this film on Blu-ray with no other subtitle options except for, I believe, Chinese). If subtitles are unimportant to you, then you have the option of including Region B, English subtitle-free releases for your consideration. As for the Region B releases, there are two main prints circulating: the French Warner Brothers release print which preserves the original aspect ratio of 1:85:1 and the Italian by Koch media that has been sized to fit a 1:78:1 screen. (There is also a German print that has not been compared favorably to the picture quality of the French version though it also maintains the original aspect ratio.) "of these options, there are pros and cons. The Koch Italian Blu-ray has superior quality in picture and vastly superior audio, however, it is the one that cuts the sides off of every shot to make it fit your screen perfectly. Additionally, some have complained that the blacks are not black enough (though that can easily be corrected with a tweak on your television settings). The French version has very high picture and audio quality but is not the "best available", which is why I felt I needed both. (That and the special features.) And what about features? The Koch edition has a bunch, some in English and some in Italian. The French edition has a bunch, mostly in French, including a documentary that runs 54 minutes and is mostly in French with no English subtitles. Still, they are high quality releases and getting a good deal on either would be worth it if you have a region free player. That having been said, if you are in America or Canada and are not wealthy enough to purchase a region free Blu-ray player or at least a poor person (like me) who was lucky enough to have manipulated someone into getting you the best Christmas present ever last year, then your only choice is to purchase Region A or make your peace with having to wait until the theatrical release has come and gone and the fools in charge of distribution finally decide to release an uncut Region A Blu-ray of this film for Region A in North America because, apparently, they don't like money as much as they should and have no plans at this time. On another note, digital download is available which can be corrupted and is always of lower quality. However, if you are just looking to see the thing, iTunes has it and some VOD services. But if you want a pristine copy for home viewing, these are your current best options and I highly recommend the Hong Kong release for those who are limited to Region A viewing only, the French release for composition hounds (those who can't abide the loss of the slivers down the left and right side of the picture) and the Italian release by Koch for video and audiophiles as it has a higher quality picture (by enough to make a difference but not enough to blow your mind) and much higher quality audio (by fully doubling the quality over any other release). Good luck with this. It is not an easy choice.

UPDATE:

A Region A, North American release has been scheduled, tentatively for October 1, 2014, by Anchor Bay/Starz. No press release has been issued concerning special features though it is a safe bet that this version will, like the theatrical release, contain English subtitles only for Korean dialogue, which, at the very least, makes this worth the buy if you like this film. There is no information regarding video or audio speed or the quality of the transfers, status on 5.1 vs. 6.1 vs. 7.1 master audio or if the files will be LPCM. Additionally, it is unknown as to whether there will be a special or deluxe edition down the line. If I had to guess, this is one of those films that will only receive a double disc edition if the first edition sells very well and demand is high. As for the size, 25 or 50GB, initial information was that it would be a 50GB Blu-ray but no confirmation has been given. I will post additional information as it becomes available. As of now, early August, the Hong Kong release is still the best bet. As for cropping, I saw this cropped in theater (a 1:78:1 presentation) and have a lovely 1:85:1 print from Hong Kong. I can't imagine that they would crop this, however, it is always possible. My recommendation is to pre-order this to lock in the price and watch for more information as it becomes available. You can always cancel if they crop the image or pull some stunt like 685 kbps audio instead of the standard of at least 3000 kbps (and really good Blu-rays are doing 6000 now) or, like me, collect multiple editions for different audio, picture and features.

Random Note:

Not to be rude, but the only people who see films in the theater any more are the sort who think The Avengers is the height of cinema (an action comedy that plays as though it were acted out by cardboard cutouts, with their endless supplies of inner camp just oozing off of the screen as they just couldn't be bothered to care), basically children and people forced to accompany them to those dark no-pause-for-pee-breaks hell-holes. For those of us waiting and wanting to fork over the funds for a Region A Blu-ray of Snowpiercer, for the distinct privilege of viewing an adult oriented action drama, absent Whedon silliness, less the failure to take itself seriously enough to make us care in the least, totally removed from unnecessary apologist comedy (the "I'm sorry my film makes no sense and doesn't tell you much of a story but, hey, Iron Man's irreverent, so it's less embarrassing for the producers, writers, director and actors" apology standard in most action and sci-fi action films of today), we will just have to continue on reviewing Battlestar and cursing Harvey Weinstein, I mean Scissorhands, for his narcissistic obsession with sticking his film cutting hands in where they ought to be slapped away and playing with unbearable delays at the expense of the audience at large. I hate film theaters for these and other reasons and yet, I will see this at least twice, no thanks to the American distribution machine who shall remain a jerk.

Essential Point:

Don't buy the Hong Kong Region A unless you can live with permanent subtitles, not understanding dialogue or having to pause at a couple of critical moments to get subtitles back on. Do buy it if you are limited to Region A as it is the best option available for under $40 and others start at $50 not including shipping. Don't buy any non-UK region B unless you have a region free player and don't need subtitles at all but if you have one and want a region B to play in it, France is best for preserving original composition with no removal of side edges to fit your 16:9 screen and Italy is best for picture overall and is, most importantly, best for audio with a much higher quality track at double the megabytes and 24 bit rather than the standard 16 on the French release. Or, if none fit your needs but you are still interested, you can wait for the uncut Region A release due out sometime after Weinstein gets kicked in the ass by people at his company who actually like money and then realizes the Blu-ray is where that money can be made. Of course, he may never figure that out. He's not very bright. Can you tell I'm getting a little ticked after the multiyear wait? Did I mention I love Tilda Swinton in a non-creepy, non-stalker, just shy of superfan kind of way?

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joebobhenrybob

cognitive dissonance

Reviewed in the United States on January 26, 2015

Verified Purchase

The movie starts out very powerfully and coherently. Everything we need to establish the movie is given with extreme competence - the cinematography/look of The Tail, the frozen arm/speech, the counting ceremony, the protein blocs, the interaction with the violinist and his wife etc. It works REALLY well. The characters, their motivations and feelings are clear and consistent with their environment and the events in it.

However, it's almost as if you can hear the shrieking of brakes going for the rest of the movie, as if someone were trying to undo all the gathered momentum built up in the beginning of this movie. They had a powerful, compelling world, characters, and storyline - basically all they had to do was not screw it up - it would almost write itself from there. But they did.

It almost has the feel of a GOOD writer or writing team writing something coherent, with a rather bad hollywood writer - someone like Damon Lindelof - coming in and "fixing" it by utterly ruining it.

As they enter the car with all the executioner-masked bad guys, the movie detaches from reality and increasingly enters a dreamworld where motiviations, feelings, and goals have no consistency, where actions have no consequences and consequences have no actions.

Actual events depicted in the movie cover the course of... what, 4 days? Yet compelling characters turn into zombies, into dream-things - they are clearly no longer people. Apparently all you have to do to turn a sensitive, caring husband violinist into a windup robot is put him in a tuxedo. He walks into the train car and begins performing - 5 feet away from him are people he knows from The Tail - he doesn't ask how his wife is or go running to meet her despite yelling to her a few days back how he would somehow make it back to her. On their side, from 5 feet away from him, the people in the tail discuss him as if he were an object. Children, taken 3 days ago move about as if they were robots, unresponsive to being called by name. Passing through the front of the train, the invaders provoke little response from the front-enders - they go through their paces like windup toys. The denziens of the front are dream-things, not human beings. No one really attempts to engage them, test them in conversation, they are ACCEPTED by the tailenders AS scenery uquestioningly - so the film doesn't seem to be aware of what it is saying if it were saying something about all humans being robotic meaningless cogs in a "balanced" machine.

I could go into many specifics that would take a few pages to lay out but that's basically where it falls apart. It turns into Alice in Wonderland/Willy Wonka and the Chocolate Factory - a weird bad dream. It COULD have gone dreamlike and allegorical, that would have been fine. But you at least have some consistency in your theme, what you're trying to say.

Best analogy I can think of to describe it - say you're at a nice upper-class or upper-middle-class house for Christmas. The extended family is all there with people from all walks of life. An interesting topic for conversation comes up - perhaps something related to current events. Someone points out something very INTERESTING but unfortunately several of the wealthier members of the family would be pointed out to have their hands directly dirtied by it - the nice house and furnishing, the nice neighborhood - would be revealed in polite conversation at the dining table in that very house - to have been "earned" at the cost of exploitation and misery of others. So the person cuts themselves off suddenly as they are saying it and everyone joins in with a lot of chatter - anything to fill up space, get away from what was being said, the purpose being to run down the clock without revisiting the topic until everyone leaves at the end of the evening.

It's as if Snowpiercer is running down the clock after the first 20 minutes, just trying to get to the end without again seriously addressing the themes introduced in the beginning. Just stall. Fill the movie with "stuff" until we can have an ending.

We start off seeing a dehumanizing elite that has become irrational, entitled, cruel. The lead character wants to change things. When we get to the end of the train, he's asked to take charge - that WAS the whole point of his efforts, take control of the engine. The response of our heroes, when confronted with the responsibility of running things, is to destroy everything and kill everyone - and the film displays no awareness OF this. A man gives his arm to sustain life and prevent more violence... a man, greatly moved to nobler motivations by this sacrifice... uses his arm to kill every victim he was trying to help.

The initial implication seemed to be that the train (allegorically the world) could be run without the haze of arrogance, entitlement, and cruelty the elites were functioning in, but ends with showing the heroes being only able to destroy, not manage, certainly not build or create. It is almost as if the film, initially championing the underdog, in the end says "yes, BE a shoe" without being consciously aware that it has turned around to say the opposite of what it originally said. There's no conscious recognition of the tragedy of destroying everything in an effort to improve it.

By the time the engine is reached, the movie is probably already lost, but some deft exposition and a different ending could have left the viewer SOMEWHAT satisfied. Unfortunately the Engineer here is about as unsatisfying as the Engineer in Prometheus. The Engineer in Prometheus is essentially indistinguishable from the other monsters in the movie. He has no horrifying revelations to give the characters, no profound statements to make - he comes simply to physically attack the heroine like any other monster.

The Engineer in Snowpiercer is about as bad - the Engineer at the very front has about as much blank, unthinking superiority as the black-clad security officer did at the very tail when he told the violinist to bring both his hands. Essentially, our hero travels his entire distance, all the dangers, and behind the final door is just another black clad security guard with the same basic things to say - just wearing a bathrobe.

Yes, children are required to work inside the machinery to make it go. But they CANNOT work there forever - it is established that adults won't fit in the spaces. For the children to HAVE a future, the train has to run. Stop the train, kill the children. If children work the machinery, at least they get to have the rest of their lives as opposed to nothing - the Engineer never makes this argument.

Maybe putting ALL the children in shifts instead of just working children from The Tail would be a better way to organize things? In a generation, everyone would have a common experience of hard work, of keeping their little world going? No?

It becomes clear what The Tail is for - why it is an integral part of the balance - they "harvest" it for children, which is the only thing keeping everything going for everyone. All that talk of the Tail section being freeloaders and they turn out to be THE vital component of the whole balanced system - you could eliminate most of the front-section people in their salons and hottubs and the train would still run, humanity and all the various preserved species would still survive. No one brings that up either.

Instead we get a lot of glib hollywood stock phrases. In the end, the movie seems to be saying that human striving is pointless, fruitless, no improvement is possible. Attempts at improvement end in pointlessness and trundling along as it is without change is pointless. Reacting to the system by destroying everything is pointless. And since the movie isn't at all aware of making that type of existential/nihilistic statement, the end statement the movie makes is about ITSELF - the point made is that the movie itself is pointless - that it was pointless to try to make a movie like this, about this type of thing.

The movie starts to say something coherent, meaningful, compelling. Something that could support a lot of entertaining action and exposition. It spends the final 80% strenuously pulling the punch it started to throw. If anything, the final 80% of the film seems to be an attempt to actively discredit any point being made in the first 20% but without any self-awareness of doing so. However, if you approach it as sort of a campy B action movie with some interesting scenes and clever one-off ideas, you can enjoy it on that basis. It is well made in that sense.

===========

On further reflection, I can't resist adding more.

----
the girl stepped outside at the end in torn spandex leggings and a fur jacket. All I could hear inside my head while looking around at all the mountains was "At this altitude, it should freeze in 7 minutes. At this altitude, it should freeze in 7 minutes. At this altitude, it should freeze in 7 minutes..."
----

They make it to the initially undefended school car full of front-ender children. They stand there scratching their heads saying "hey, you front enders took our children, anyone know where OUR children are? The front-enders took them..." scanning quizzically, confusedly, idiotically across a horde of FRONT-ENDER CHILDREN. SERIOUSLY!?!?!?!?

You're at war with a bunch who you swore had to be "rooted out." They've stolen from, imprisoned, starved, maltreated, tortured, maimed, and kidnapped your people. You recently fought several bloody battles against them. You want them to give your children back. You have all of THEIR children in front of you. Oh what to do, what to do.

Do you think you might want to TAKE SOME HOSTAGES to trade for your own children? To at least ensure the SAFETY of your children? To fend off any TRICKS the enemy may try? Just riffing here but would taking EVERY front-ender they came across prisoner ESPECIALLY front-ender children seriously NOT come across the minds of people at war against a superior enemy?

It's as if these people feel obligated to put in a word about the children for form's sake but don't ACTUALLY care about the children. This weird, affect-less, dreamlike state for all the characters is continual throughout the movie.
----
All the authority figures assure us BALANCE must be kept - they continually equate a rather stark class distinction to homeostasis. As if the manta rays and chickens etc won't be able to maintain balance without the super-rich living it up in a profligate manner while the poor are beaten, have their children stolen, and eat nothing but bugs.

Why does NO ONE say, "Hey, I got to the front and you guys are incredibly WASTEFUL! You aren't maintaining a balance at all! Who am I going to believe, you or my lying eyes?" But this "balance" argument goes without challenge.(!)

The film neuters its own premise. The Tail-enders' objection is essentially to horribly bad MISMANAGEMENT. After the fish-fight, the issue of the frontenders' DESPOTISM and misallocation of resources seems to disappear. As does any expectation of further hostility - this after the frontenders show they have no mercy and a penchant for slaughter and cruelty. They go from a group fighting for their lives to steerage-class passengers sneaking into first class and wandering around. What happened before doesn't matter so apparently it's a surprise when people start shooting at them.
----
When did Curtis (Chris Evans) become An Expert In Things That Have Never, Ever Happened!?!?!

--How did he know the particular wheel he chose to stick his arm in would stop the train? What if it ran, say, the secondary auxiliary cooling system and would stop the train in a couple months... or maybe it ran the hot tub or sauna room, therefore NEVER stop the train?

--How did he know his arm COULD stop the wheel? How did he know the ginormous, incredibly fast-spinning wheel of solid steel wouldn't immediately break his arm, leaving it to flap ineffectually like a baseball card in the rear wheel spokes of a bicycle?

--how did he know there was no other way to get the kid out? How did they get the kid IN that spot in the first place? Same arm-method? Maybe he is free to crawl out sideways and up through some other hatch? Maybe he should ASK FIRST? Hey kid? Do they let you out for lunch? Think you can come out that way? Or is he an Expert In Things That Have Never Ever Happened?

--why didn't he grab the chair 3 feet away and use that to block the wheel?

--why didn't he accept the offer of control of the train and then stop it by... stopping it? And then let all the children climb out instead of dying horribly inside?

--Why didn't he accept the offer of control of the train and then stop it somewhere other than high, high in Himalayas. Why didn't he wait until he was near the ocean near the equator and THEN stop it to give people a fighting chance against the cold?

--why didn't he give us a little exposition on why he'd changed from a leader trying to get the best for his people to a psycho trying to kill everyone? Does talking to a train-obsessed bald jerk make you lose your mind and look for some way to kill the human race with your arm?

--why does he try to engage passing children in idle chitchat while having his arm crushed by heavy machinery? How exactly does he maintain his composure for this purpose?

--when did he learn to shoot a 32 calibre machine pistol 200 yards through a blowing snowstorm FROM a moving object AT a moving object to make a perfect head-shot? Was that sometime BEFORE he was 16 years old and boarded the tail of the train? After? Did he join Delta Force or become a Navy Seal when he was 12 or what? How did he learn to make a shot no one has ever been able, nor will ever be able to make? Did they pass out weapons and ammunition to the people in The Tail to keep up their shooting skills? Do they at least have a playstation where they take turns playing Call of Duty back there in The Tail? No? The Scorpoin vz61 is a 32 calibre machine pistol. Do you realize how tiny a round that is or how the wind would blow it around for 200 yards before it could reach its target? Did the director wave away a 9mm submachinegun for the scene saying "No, no you stupid interns, I want a TRULY idiotic gun to make a 200 yard shot with, not just ridiculous!"

-----

What was the TONE for this movie? The character doesn't seem to be warring between considered strategy and passion. He just goes promptly, immediately insane after forgetting his goal between fish-car and engine room.

When you have a dour, taciturn character who makes gigantic leaps in behavior without any character arc, it helps to have a foil. A Jimminy Cricket type character trying to be an angel on their shoulder making appeals to compassion or reason. Alternatively, you can have a Shakespearean fool type character that covers your comedic action while throwing out the painful truth. Where is this character? If you cannot reveal inner tension or character arc via the character themselves because they are too taciturn, use a foil to show it. Nope.

If the theme of the story is humankind's folly, of screwing things up despite good intentions, where's the TONE of the movie communicating that? It establishes itself as Braveheart on a Train, then turns listless and expressionless.

Where's Charlton Heston outside the train on his knees in the snow shouting "You Maniacs! You blew it up! Ah, damn you! God damn you all to hell!" ?

The girl who gets off the train - the one who set off the explosive - doesn't seem to be experiencing anything along the lines of "oh my god I just caused the extinction of humanity along with the extinction of another 100 species or so." Nor does she look back at the train with regret, or scorn, or worry, or insouciance. It's apparently just another part of her life. I was woken up and sniffed some drugs. And then I walked a ways. Then I blew up a door and killed humanity. Then I saw a polar bear.

-------------

What if this had been done in the sardonic, satirical style of Robocop/Iron Sky/Dr Strangelove? That would have been an awesome movie. Tilda Swindon visited us FROM that awesome movie, unfortunately no one came with her but the schoolteacher.

18 people found this helpful

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Top reviews from other countries

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Silber

Ich habe ja so viele Fragen ...

Reviewed in Germany on August 2, 2016

Verified Purchase

1. So eine tolle Idee + so viel Geld zu Verfügung + so tolle Schauspieler und Regisseure ... aber: Wie konnte das nur passieren?
2. Warum gibt es so viele Filmfehler?
Die anderen Fragen ergeben sich dann in der Rezension.

Ich habe damals die TV Werbung gesehen und war gleich ganz begeistert von der Idee. Endlich mal etwas neues und auch
endlich mal Schauspieler aus Asien, sehr geil! Zudem liebe ich Endzeitfilme und wenn dann auch noch alles einfriert? Super!

Achtung, Spoiler! Wer den Film noch nicht gesehen hat, sollte hier nicht weiterlesen!
***
Der Film beginnt im hinteren Teil des Zuges. Man weiß noch nichts über den Zug, auch nicht wo er fährt oder wie lange
schon. Es ist sehr Schmutzig da hinten und die "Passagiere", die alle sehr erschöpft wirken, erhalten jeden Tag einen
schwarzen, labberigen Energieriegel, worin der Hauptdarsteller Curtis (Chris Evans) dann ein Röhrchen mit einer
Nachricht darin findet. Dieses Röhrchen muss er aber zuvor einem Jungen abluxen, der den Energieriegel selbst essen
möchte.
Gleich hier war ich doch etwas verwundert. Woher wusste Curtis, dass in diesem Riegel das Röhrchen ist? Und warum
sind einige der Figuren so "moppelich". Bei jedem anderen Film wäre es wohl egal, aber in diesem hinteren Teil des Zuges
leben die Armen, die sich, wie man später erfährt, auch Körperteile abschneiden, um sie zu essen. Sie erhalten nur diesen
Proteeinriegel um nicht zu verhungern. Dennoch leben dort seit 17 Jahren Menschen, fast 18 Jahren in absoluter Dunkelheit,
die scheinbar soviel essen, dass sie Übergewicht haben oder total durchtrainiert sind und Muskeln aufbauen konnten.
Das hat mich dann doch arg irritiert. Wie ist das möglich? Ohne Obst, ohne Sonnenlicht? Natürlich muss später ein
großer Aha-Effeckt kommen, als sie das erste Mal wieder Sonnenlicht sehen, aber ... es ist nicht möglich.
*
Es geht weiter. Die Figuren interagieren miteinander und sind sich einig, dass sie nach vorne müssen, damit sie endlich
bessere Lebensbedingungen haben. Hier denkt man sich ja noch okay, der Zug ist sicher nicht so lang. Es wird die "da hinten"
geben, dann einen Sicherheitswaggon, einen für die Lebensmittel und vorne sind dann die "Adeligen". Aber weit gefehlt.
Der Zug ist gefühlt einen ganzen Kilometer lang und es müssten fast 50 oder 60 Waggons sein. Man fragt sich dann schon,
warum in den letzten, zwei, drei Waggons so eine Armut herrscht. Überträgt man diese Gesellschaftskritische Anspielung
auf unsere Welt, müsste es ja eher anders herum sein. Wenige leben aufgrund der Armut vieler. Aber hier leben viele auf der
Armut weniger. Unlogisch. Leider.
*
Es kommt wie es kommen musste, der erste spannende Plot beginnt. Eine Frau von "Vorne", hübsch gekleidet und
recht herablassend, nimmt zwei Kinder mit. Natürlich bricht Widerstand aus, woraufhin ein Mann als Strafe seinen
Arm in die eisige Kälte strecken muss.
Das Schauspiel der "älteren Dame mit dicker Brille" die auch auf dem Cover links zu sehen ist, ist recht überraschend
"irre". Manchmal hatte ich das Gefühl, sie hat zuviel improvisiert. Was bis dahin ein düsterer Film war, wurde nun
seltsam. Wo bei "Hunger Games" die schrille Persönlichkeit am anfang noch Katniss aussucht und überzeugend rüberkommt,
ist diese Figur total überzogen. Sie darf ja gerne verrückt und schrill sein, aber warum nimmt sie z.B. später ihre Zähne heraus
und grinst Curtis an? Selbst die anderen Darsteller blicken irritiert um sich, weil es einfach keinen Sinn ergibt. Sie hat wohl
nicht vorgehabt jemanden damit zu erschrecken, wozu also die herausnahme des Gebisses?
Der Zuschauer fragt sich natürlich, was sie mit den Kindern vorhaben. Mein erster Gedanke war, dass im "guten" Abteil weiter
vorne, nur die alten Reichen sitzen und sie Kinder suchen um sie "umzuerziehen" und so die Nachfolgschaft am Leben zu erhalten.
Aber weit gefehlt ...
Zudem wird einem der "Widerständler" auch noch zur Strafe (weil er seinen Sohn retten wollte) der Arm abgefrohren, indem er diesen
durch ein Loch aus dem Zug halten muss. Sieben Minuten lang.
Erstaunlicherweise schreit er nur ab und an und danach kann ihm der Arm zersplittert werden. Kein Blut, es gibt einen perfekten
Stumpen, ohne Ärztliche Versorgung ..........
Dieser Mann kann später übrigens total toll kämpfen und ist voller Energie.

*
Die Figuren kämpfen sich also nach vorne, man erfährt, dass keine Kugeln in den Gewehren sind. Man kämpft sich bis zum
Gefängnistrakt vor. (Hinteres Abteil, Sicherheitsschleuse, Gefängnistrackt), wo die Gefangenen in kleinen Zellen und eine
Art Kühlkammer liegen. Dort erwecken sie den Asiaten, der zwar perfekt englisch versteht, aber selbst nur mittels Gerät zu den
anderen sprechen kann. Alleine das ist schon wieder total unlogisch. Kann man sich nach 17 Jahren nicht mal etwas englisch
aneignen? Und warum versteht er alles perfekt, kann aber kein Wort sprechen? Zudem versteht man diesen Sprachcomputer
kaum und somit nicht wirklich das, was er sagt.
Die Figuren wissen nun also, dass sie ihn brauchen (er nimmt auch gleich seine Tochter mit), um die Türen zu öffnen. Er ist ein
Genie, da er den Zug wohl mitkonstruiert hat und das Töchterlein (Youna) kann erahnen, was hinter den verschlossenen Türen ist.
Curtis sagt ganz trocken: "Ach, du kannst Hellsehen?" In diesem Moment dachte ich noch ok, es gibt also Fantasyelemente.
Nein, leider nein, das wird einfach so gesagt, als wäre es tatsächlich möglich. Puh.
*
Dann geht es weiter richtung "Essenszubereitung für die Armen". Es ist der Waggon, wo diese ekligen Glibberriegel hergestellt werden
und wie Curtis herausfindet, scheint das aus Insekten zu bestehen? Es sah zumindest "golden" aus und nach Flügeltierchen, als er
in diesen Ofen schaute. Warum diese bei Verbrennung schwarz und Glibberig werden weiß ich dann aber auch nicht.
Das ganze wird von einem ehemaligen Typen aus dem letzten Waggon zubereitet, der wohl eine Art Gehirnwäsche bekommen hat,
da er sich doch arg seltsam verhält.
*
Weiter gehts (Falls ich ab hier die falsche Reihenfolge verwende, großes Sorry, aber bei so vielen Waggons, wo nicht wirklich viel
passiert, kann man schon mal durcheinander kommen).
*
Sie kämpfen dann gegen Soldaten, die plötzlich Nachtsichtgeräte haben und Hammer, Äxte ... wo ich mich dann doch frage, wo um
Himmels willen sie das ganze Zeug herhaben! Es wird gekämpft und gekämpft ... und gekämpft. Mit Slow-motion Szenen ohne Ende.
Dabei stirbt dann leider der nette Junge, den Curtis wie einen Sohn behandelte, da er sich entscheiden musste: Rettet er ihn oder
killt er die alte Nervensäge? (Die Frau vom Cover, die wohl als eine Art Sekretärin des Zugführers agiert).
Er entscheidet sich dafür die alte Nervensäge gefangen zu nehmen, sein Schützling stirbt.
Viele sind tot, verletzt, bleiben zurück, da nur noch die "Starken" nach vorne gehen. Soweit - so logisch. Endlich mal.
*
Der Film geht recht lange, weswegen ich jetzt nicht mehr genau weiß was zuerst kam. Auf jeden Fall gelangen sie jetzt in die
Vorratsräume. Zuerst durchqueren sie einen Waggon wo Tomaten angebaut werden. Ein riesiges Gewächshaus ist dort!
Sogar Erde mit Regenwürmern.
Hier die große Frage: Der Asiate sieht aus dem Fenster und meint, das er etwas sieht, aber nicht sagen kann was.
Ja, aber das wird nicht aufgedeckt? Was sieht er denn nun?
Was hier auch wieder total unlogisch ist: Alle bleiben total ruhig. Natürlich haben Curtis und Co die alte Schreckschraube als
Gefangene genommen, aber da sitzt eine Oma die in Ruhe strickt, alle Gärtner bleiben total gelassen ... die müssen doch sehen
wer da kommt und irgendwie reagieren? Tut aber keiner.
Dann geht es durch das Fleischabteil. Und hier ist es wieder unlogisch. Ein Gewächshaus: ja. Aber ein Fleischabteil mit Tiefgefroren
Hähnchen und Kuhhälften? Wo sind diese Tiere lebend? Der ganze Waggon besteht aus einer großen Kühlkammer, aber wo sind die
lebenden Tiere? Was fressen sie? Diese Frage wird nicht beantwortet und soll wohl lediglich dazu dienen dem Zuschauer zu
suggerieren: "Die da vorne leben im Überfluss". Dann aber bitte auch ein Tierabteil machen mit lebenden Tieren und Getreide, was
diese Tiere essen!
Gesellschaftskritisch aber dennoch interesannt: Es leben Menschen ganz weit hinten noch VOR den Tieren. Genau so handhaben wir
es doch auch. Während Millionen, gar Milliarden Menschen hungern, sitzen wir hier und geben selbst den Tieren mehr zu essen, nur
damit wir Fleisch haben. (Einer der Hauptgründe warum dieser Film so viele Sterne hat, trotz der vielen Fehler ist, dass man deswegen
tatsächlich ins Grübeln kommt)
Dann geht es ins Fischabteil und jetzt wird es echt skurril. Wie im Sealife geht man durch einen Tunnel. Dort sind Rochen zu sehen!
Und es gibt ein Sushirestaurant? Die alte Schreckschraube lädt dann zum Sushi ein und erklärt, es gäbe nur 2x im Jahr Sushi, im Januar
und Juli, weil ja das natürliche Gleichgewicht nicht kaputt gemacht werden darf und es immer gleich viele Fische geben muss, damit das
Biosysthem nicht kaputt geht. An sich auch sehr logisch und eine gute Anspielung auf Überfischung.
Aber ... die sitzen da, essen Sushi, also nach 17 Jahren mal was anderes als diese Glibberriegel und keiner äußert sich dazu irgendwie?
Die Essen das ganz normal, sind höchstens hungrig ... Seltsame Reaktion.
Sowieso verhalten sich viele total irrational.
*
Weiter gehts in das Abteil für die Schule. Man gelangt in eine Schulklasse und ich frage mich: Wohin mit den Abfällen? Wo schlafen
die Soldaten, die Gärtner? Es gab zwar einen Schlafwaggon, aber der reichte nie und nimmer für alle.
In der Schulklasse gibt es eine Lehrerin auf Drogen (?) und die Kinder (alle Blond und süß) sind vollkommen manipuliert worden und
verehren den Zugführer wie Gott. (Auch hier wieder eine schöne Anspielung unserer Gesellschaft. Bring den Kindern irgendeinen
Quatsch bei und sie glauben es, als sei es die Wahrheit).
Dann gibt es plötzlich Eier als Geschenk und Curtis greift sich natürlich genau das, wo wieder eine Botschaft drin ist. Allerdings
rasten dann alle aus, denn unter den Eiern waren Waffen versteckt die dann doch noch Patronen haben und man schießt wild
um sich.
Plötzlich sind die Kinder weg. Wohin sind sie geflohen? Man sieht sie NIE wieder. Ständig fehlen plötzlich Figuren, viele Figuren im
Film und man sieht nicht wohin sie rennen! Unlogisch! Das ist doch ein Zug, wohin sollen sie denn bitte hin?
Es wird mal wider gekämpft und Curtis knallt die alte Nervensäge endlich ab. Danke. Das war mir ein tiefes Bedürfnis!
*
Weiter gehts. Jetzt wird es richtig seltsam ... Waggon über Waggon aus Luxus. Büros. Eine Zahnarztpraxis. Ein Frisörsalon? Ein
Restaurant? Eine Teegesellschaft? Eine Disco? Ein Swingerclub? Sauna? Poollounge?
Okay, wir haben es verstanden. Die "da vorne" leben im Luxus.
Und wieder fragt man sich, warum man so viele Menschen auf engstem Raum, ohne Tageslicht "lagert", während vorne so viel
Platz ist? So viel Luxus? Wofür braucht man diese Menschen??? Am Ende wird es ja aufgelöst (kommt noch ...), aber wirklich
Sinn ergibt es nicht.
*
Wieder marschieren die von "da hinten" nach vorne durch, werden nicht aufgehalten. Bis dann die Wachmänner wieder ankommen
und dann durch (!!!) die Zugscheibe schießen, da sich der Zug gerade in einer Kreis-Kurve befindet und sich so einige Waggons gegenüber
stehen ... er schießt echt durch die Scheibe und trifft auch noch auf der anderen Seite, die mehrere hundert Meter entfernt liegt.
Auch dort splittert die Scheibe.
Ernsthaft? Ein Zug mit der Geschwindigkeit, mit der Kälte ... ohne Zugluft, ohne das die Scheibe berstet?
Äh ... Wozu das geballer?
Zudem rennt dieser Wachmann (Blondes Haar, wirkt auch total irre im Kopf) wie ein Cyborg durch die Gegend.
Weder Kugeln noch Messerstiche noch Ersticken können ihn aufhalten. Der lebt einfach weiter. Ne, ist klar ...
Das macht einfach nur noch wütend beim zuschauen.
*
Tja, sie kämpfen, sie kommen weiter nach vorne, bis sie endlich vor dem ersten Waggon stehen.
Jetzt sind nur noch Curtis, der Asiate und seine Tochter übrig.
Es kommt zu einem Endkampf, wo klar wird, warum der Asiate diesen "Abfall" gesammelt hat, er baut sich daraus
eine Bombe, um die Zugtür zu sprengen und nach draußen zu gelangen. Super Idee!!! NICHT!
Curtis will nur in den ersten Waggon, um mit dem Zugführer, dem Chef, dem Gott zu sprechen ...
Plötzlich geht die Tür auf, Töchterchen (Youna) ist KO und liegt auf dem Boden, der Zombi ist im Anmarsch und
endlich scheinen auch alle anderen Passagiere aufgestanden zu sein, da auch sie mit Axt und Messern bewaffnet
auf den Asiaten losgehen wollen. Der Asiate kämpft dann mit dem Zombi und gibt seiner Tochter Anweisungen
welche Drähte sie denn zusammenwurschteln soll, damit die Türen auf und zu gehen.
*
Währenddessen ist Curtis vorne beim Zugführer. Und der Maschine. Die Maschine die den ganzen Zug am Leben hält und die
Curtis kontrollieren möchte, damit er den Zug kontrolliert und endlich all die Ungerechtigkeit bekämpfen kann.
Der Zugführer sitzt in bequemer Kleidung in einem fast sterilen Raum, isst Steak und redet über Sex mit Frauen, während
Curtis einfach nur da sitzt und von seiner Gastfreundlichkeit etwas überrascht ist.
Dieser offenbart Curtis dann auch gleich, dass alles nicht echt ist. Das Curtis Mentor eigentlich sein best buddy ist und sie
diese ganze Revolution geplant haben, da der Zugführer wohl bald stirbt. Hätte man auch einfacher haben können ...
Dann kommt heraus, dass es eine Überpopulation im hinteren Zugabteil gibt und darum viele erschossen werden.
*
Tja, dann der große Knall. Die Tür wird gesprengt und am Ende überleben nur die Tochter (Youna) und der kleine
Junge, der am Anfang des Filmes entführt wurde. Dieser ist nämlich noch so klein, dass er ein Maschinenteil ersetzt
und im Fußboden des ersten Waggons Tag und Nacht arbeiten muss, damit die Maschine weitermacht.
*
Okay ...
Die zwei Kinder (eine siebzehnjährige Asiatin und ein fünfjähriger Junge) überleben den Crash des Zuges und die Bombe und
laufen nach draußen. Sie erfrieren aber nicht, sondern finden sogar einen wohlgenährten Eisbären.
Leben auf der Erde ist also wieder möglich.
Ende
*
Äh ... ich hätte dann doch noch ein paar Fragen!
In einem Video (in dem Schulklassenwaggon) wird erklärt, der Zug würde quasi in einer Schlaufe um die ganze
Erde fahren. Der Zug benötigt ein ganzes Jahr für eine Umrundung. Und genau hier ist es halt schon wieder komisch.
Reden wir von einem Erdjahr? Würde ein Zug tatsächlich diese Strecke fahren, mit dieser Geschwindigkeit, er wäre doch
höchstens ... einen Monat unterwegs? Wenn überhaupt.
Das der hintere Waggon quasi nur dazu dient neue Kinder zu zeugen, die als Maschinenersatzteillager fungieren, ist soweit
auch nachzuvollziehen, ergibt aber wieder keinen Sinn, wenn wahllos alle potenziellen Frauen am Ende abgeschlachtet werden.

Man fragt sich halt die ganze Zeit, welchen Sinn es hat, die da hinten festzuhalten. Würde es nur darum gehen, dass Kinder
die Arbeit vorne verrichten können, könnte man diese abwechselnd arbeiten lassen oder sonstwas tun, aber doch nicht so?
Es gibt noch so viele andere Ungereimtheiten, die einfach unlogisch sind und das macht leider den ganzen Film kaputt.

Vielleicht wird der Film ja in zehn Jahren neu gedreht, weil die Idee an sich echt gut ist, aber es gibt einfach zu viele Aussagen
die z.B. auch unlogisch sind. Es gibt Zugbabys die heute siebzehn sind, aber nie mit nach vorne mussten.
Dann fragt man die älteren, die ja noch auf der Erde lebten, wie es damals so war und scheinbar niemand kann sich daran erinnern.

Puh. An sich verstehe ich jetzt, dass so viele unzufrieden mit dem Film sind.
Geile Idee, ganz gute Umsetzung, viel zu viele Logikfehler! ABER mit schönen Ansetzen zum Nachdenken.
Darum drei Sterne.
Einen für die Grundidee. Einen für die erfrischende Schauspielleistung der vielen asiatischen Schauspieler und
einen für die Optik. Abzüge gibt es in der Umsetzung und der Logik.

Sorry für den langen Text :) Vielleicht kann mir ja jemand meine vielen Fragen beantworten?

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pessy

film carino anche se un pò dark; non per ragazzi

Reviewed in Italy on November 15, 2023

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trama carina, personaggi famosi a iosa, fa molto molto riflettere, lo consiglio vivamente.

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FX de Vasselot

Autant conte post-apocalyptique que parabole sociale, visuellement splendide

Reviewed in France on December 10, 2013

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Le Transperceneige est un gigantesque train condamné à circuler en permanence sur un tracé faisant le tour du monde, alors que celui-ci a été littéralement congelé après une intervention humaine catastrophique visant à contrer le réchauffement climatique. Ce train est organisé comme un monde miniature en autarcie, avec ses luxueuses premières classes en tête et ses wagons bondés de miséreux en queue. Chacun est prié de rester dans son wagon. Mais un jour, une révolte éclate à l’arrière pour tenter de remonter tout le train et prendre le contrôle de la locomotive.

Tiré d’une BD française des années 80 , c’est le coréen Bong Joon-Ho, auteur du surprenant The host , qui s’est attelé à l’adaptation pour le grand écran de cette originale dystopie. Le résultat est une fable nihiliste où l’anarchie comme la lutte des classes n’aboutissent en définitive qu’à un choix entre perpétuation du système ou mort probable. Son pessimisme (quoique la fin est très ambiguë) épargne à ce film les naïvetés qui avaient entaché les efforts sincères d’un Time out ou d’un Equilibrium et le rapproche plutôt d’un Soleil vert (la question du cannibalisme institutionnel est d’ailleurs implicite pendant le premier quart du film jusqu’à ce qu’on découvre que, non, les pains protéiques dont se nourrissent ceux du fond ne sont pas issus d’un recyclage humain, finalement, même si la vérité n’est qu’à peine moins purgative). Mais l’intérêt du film ne se limite pas à sa seule vision cynique des révolutions.

Au fur et à mesure de la progression des rebelles, nous découvrons avec eux les différents wagons. Chaque nouvelle porte peut s’ouvrir sur une grave menace, une école, une mini-usine, un aquarium géant, un back-room sordide, etc. Cette inventivité excellente maintient notre curiosité en éveil, d’autant que les visuels sont très soignés et la mise en scène parvient à éviter toute sensation de claustrophobie. L’ordre des wagons a été également soigneusement étudié. L’absence remarquable de classes moyennes rencontrées dans les wagons, la violence de la répression policière, le fait que la classe miséreuse n’est pas exploitée dans un quelconque travail mais reste parquée de force à l’arrière, tout concourt à faire du train une parabole de régime totalitaire (et non capitalistique comme on peut parfois le lire). La rebellion, elle, souhaite prendre le pouvoir (la locomotive) mais sans vision claire de ce qu’elle en ferait ensuite. Il s’agit moins de lutte des classes que d’un soulèvement de protestation sans but réel. D’ailleurs, Curtis, celui qui deviendra le meneur à son corps défendant, sans illusions sur la nature humaine, exprime ses doutes dès le début du film : « Les premières classes, on fera comme eux quand on y sera… ». Ses propres motivations n’apparaissent que plus tard et, si elles sont intéressantes, ne font que souligner que la révolte est finalement aussi absurde que la situation de départ.

Les acteurs sont très bons, surtout les seconds rôles. Tilda Swinton ( The deep end , Narnia , Michael Clayton , Julia , Constantine ) se fait délicieusement détester, John Hurt ( Midnight Express , Alien , 1984 , Immortels , V pour Vendetta ) et Ed Harris sont géniaux en opposés plus proches qu’il n’y paraît, Jamie Bell ( Billy Elliot , Jumper , Hallam Foe , Generation RX ) est bien, même si ses rôles restent ceux de post-adolescents. Curtis est campé par un Chris Evans meilleur que dans Captain America et qui retrouve le charisme qu’il avait su déployer dans l’excellent Sunshine de Danny Boyle.

Autant conte post-apocalyptique que parabole sociale, le Transperceneige se révèle être un bon film, visuellement très maîtrisé et où l’on retrouve d’excellents acteurs avec plaisir. Cette histoire de révolution ne reste pas pudique avec la violence, mais il ne faudra pas que cela vous empêche de le découvrir !

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AZ

Grandissimo film

Reviewed in Italy on September 26, 2023

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Capolavoro del regista sudcoreano. Tra i migliori film di fantascienza degli anni 2000 se non il migliore.

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giovannino

AGGIORNAMENTO AL 4/10/2014

Reviewed in Italy on July 8, 2014

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AGGIORNAMENTO AL4/10/2014
Metto le cinque stelle al posto della precedente una, ed aggiorno questa recensione per riportare alcune positive novità.
Purtroppo Amazon ha la pessima abitudine di accomunare tutte le recensioni dello stesso titolo anche se si tratta di edizioni diverse. Segnalata la faccenda delle caratteristiche tecniche (A.R. ecc.) alla KOCK MEDIA, casa di distribuzione del titolo in oggetto, segnalo la gradita disponibilità di questa nella gentilissima persona della Sig.ra E. Mattasoglio che promise a suo tempo una risoluzione del problema. Detto, fatto: dopo pochi mesi, rivedono e correggono i difetti dell'edizione ed escono in tempi record con una nuova edizione con con A.R. ed altri difetti corretti. Non solo, ma a chi come me, avendo amato il film ed avendo dato fiducia dalla prima messa in vendita, dietro segnalazione alla Kock Media ha ricevuto a casa un nuovo doppio blu-ray in confezione amaray perfettamente sigillata, senza nessuna spesa e nemmeno la restituzione della vecchia copia. RIPETO, LA SPEDIZIONE L'HA FATTA DIRETTAMENTE KOCK MEDIA, NON AMAZON. Quindi grande plauso alla serietà e professionalità della Koch Media che venendo incontro alle necessità di alcuni utenti esigenti ed appassionati che altro non chiedevono di vedere il film nel suo stato originale con le sue caratteristiche tecniche ed artistiche volute dal regista. Stessa cosa non si può dire di Amazon che continua a vendere la nuova edizione corretta insieme alle vecchie errate senza fare un benché minimo accenno se non nella data della messa in vendita del bluray che corrisponde al 10 settembre 2014. Quindi ai potenziali acquirenti che sarebbero intenzionati ad acquistare questo meritevole film, prestare attenzione ai "Dettagli del prodotto" ed acquistare solo l'edizione dove vi è indicata la data del 10 settembre 2014 ed avente ASIN: B00N53LFFS lasciando perdere come la peste l'edizione del 3 luglio compresa la steelbook sperando che Amazon si decida a toglierle da mezzo.
________________________________________________________________________________________________________________________________
Bluray arrivato ammaccato chiesta sostituzione. Servizio clienti impeccabile però nonostante abbia chiesto per questo tipo di prodotto un imballaggio migliore Amazon si ostina ad inviarlo nella solita busta con cui invia i blu ray priva di imballaggio a mio avviso inadeguata, infatti questo tipo di blu ray (steelbook) è la quinta volta che mi arriva ammaccato. Un altro appunto lo faccio sul corriere Bartolini che nonostante abbia chiesto di non usarlo più Amazon si ostina ad inviare ultimamente sempre con questo corriere. Bartolini è inaffidabile mai puntuale è bugiardo: ha effettuato la consegna 4 giorni dopo la previsione però sul traking risulta solo un giorno di ritardo (imbroglio). Ed è stato sempre così anche quando acquisto su altri siti. Ma Amazon nonostante queste mie lamentele fa orecchie da mercante pare lo faccia apposta a spedire con bartolini. Ho stipulato PRIME per liberarmi delle poste, cosa devo fare per liberarmi di Bartolini. Al momento in cui scrivo mi è giunta l'email che hanno spedito la sostituzione. Nonostante abbia supplicato di non usare Bartolini, indovinate con chi mi mandano il pacco? Bravi, bartolini.

Aggiornamento: dopo vari invii e maledizioni inviate ad indirizzo di Brt mi è finalmente arrivato integro per scoprire nella bellissima steelbook un film (uno dei migliori di fantascienza degli ultimi anni è chi dice il contrario non capisce una mazza) con l'Aspect Ratio errato e varie imperfezioni non degne di un bluray.
Quindi boicottare ed attendere una riedizione con le caratteristiche tecniche giuste!

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Genre	Action/Adventure
Format	Blu-ray, Widescreen
Contributor	Bong Joon Ho, Jamie Bell, Tilda Swinton, John Hurt, Octavia Spencer, Chris Evans, Ed Harris
Language	English
Runtime	2 hours and 6 minutes

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