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Stream ‘Snowpiercer’ on 123Movies and Enjoy It

Stream ‘Snowpiercer’ on 123Movies and Enjoy It

This series are available on 123Movies film streaming provider. Snowpiercer seems like a rebuttal to the oft-repeated, hard-to-find Marxist adage that “imagining the end of the world is simpler than imagining the end of capitalism.” The film, which is based on a French book series and co-written and directed by Bong Joon-ho (who is making his English-language debut), imagines a final scenario in which capitalism’s framework remains intact, with no actual capitalism bungling up the works.

A last-ditch attempt to prevent global warming by releasing a concentrated coolant into the sky backfires in 2014, trapping the globe under ice. The Snowpiercer, a gigantic railway originally designed by an eccentric inventor as a luxury vacation option, has been repurposed post-apocalypse as a “rattling ark,” endlessly circumnavigating the world, driven by a perpetual motion engine that is revered like a deity. And, because no other option appears to exist, the train is divided by class from head to tail, cabin by cabin.

The Plot and Cast of Snowpiercer

The wealthy dine on sushi and lounge in saunas at front, while the swarms of stowaways in the back eat jelly-like protein slabs and plot their revolt. Curtis (Chris Evans, Captain America) leads the push toward the front of the train to take the engine, snatching the glowering upper-crust envoy Mason (Tilda Swinton, understanding the difference between Margaret Thatcher and Mr. Burns from The Simpsons).

The train’s class structures exist only for themselves, propagated by the chugging forward momentum of tradition, because no wealth (and very little labor) is produced aboard. Snowpiercer is almost bracingly basic, with its amazingly unembellished capitalist fable – if that’s the right word; it’s more text than subtext – in which the train acts as both a narrative and thematic vehicle. And it’s all for the better.

Making blockbusters with ripped-from-the-news relevancy has become tediously de rigueur. The Avengers recognized the surveillance state; The Dark Knight Rises brought America’s simmering class tensions to a boil; while Star Trek Into Darkness and Captain America: The Winter Soldier tried to squeak out some leftover relevance by dabbling with drone warfare themes. Any time an engine collides with something ostensibly erect, it’s about 9/11, whether it’s on purpose or not.

If the messaging wasn’t so frequently muddled, it’d be passably intriguing. These heroic sci-fi movie spectacles repeatedly acknowledge the mechanism of current power politics, only to reaffirm the fundamental principles that bogusly allow them in the first place. There are good guys and bad guys, and the bad guys will repent the day as long as the self-ennobled good guys are there. Essentially, individuals kill people, not hovering remote controlled gunships.

Snowpiercer is Well Aware of The Situation

The system – the apparatus itself – is the flaw in this film. The revolutionaries who are rallying aren’t just good men; their ranks are dominated by thugs, inebriates, cannibals, and junkies (South Korean superstar Song Kang-ho). Similarly, Bong and co-writer Kelly Masterson (Before The Devil Knows Your Dead) manage to make Swinton’s vengeful gargoyle sympathetic for a brief moment, as just another pitiful person trapped in a perverse system of unfairness and disorder. As radicals and black-shirted police forces take a respite to countdown the New Year, a particularly riveting (and brutal) mid-train melee fades, as if, even in the midst of their bloody animosity, they are mutually tied by circumstance.

This is strong stuff, made all the more so by its simplicity. (Once again, the story is told in a straight line.) Snowpiercer’s howling obviousness is its greatest asset, as it is in John Carpenter’s They Live (about magical sunglasses that reduce the corporate leather seats of billboards and ads into simple edicts to “OBEY”) and Harry Elfont and Deborah Kaplan’s Josie And The Pussycats (about record industry execs conspiring with the US government to drive teenage consumption via subliminal messaging). It’s a reaffirmation of fundamental assumptions, as artless and beautiful as a graffiti scrawled across a bank proclaiming “CAPITALISM STINKS!”

Snowpiercer only lolls when it becomes too brilliant for its own good. The train’s “benevolent” conductor (Ed Harris) applauds Curtis’ murderous revolution as “a blockbuster production” near the end, a not-so-subtle dig at the film’s fragile place in the popcorn movie pantheon. And casting a hunched, browbeaten John Hurt as the tail-radical end’s paterfamilias, Terry Gilliam, works as a dystopian cinema twofer joke, evoking both Hurt’s performance as Winston in Michael Radford’s 1984 adaptation and director Terry Gilliam, whose Brazil is the Citizen Kane of the this strain of dorky downer sci-fi. However, these are small geek annoyances to watch movie online at 123Movies in a film which otherwise runs with the chug-a-lug speed of its eponymous locomotive.

As the credits roll, Snowpiercer provides an alternative to the existing system that such films typically fail to imagine, the future of humanity being entrusted to the unlikeliest of revolutionary revolt survivors. Without giving anything away, it’s a picture that, rather than presenting another repetitive reshuffling of power from the Black Hats to the White Hats, at least offers the prospect of change. Perhaps such upbeat, hopeful readings are simply a result of what Swinton’s character refers to as “the doomed’s misguided optimism” early in the film.

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