Snowpiercer
- Thread starter Lex
- Start date
I went in completely blind and honestly even from the premise you don't expect the story to go where it does.
I KNOW RIGHT
Suspension of disbelief is required for certain almost plot-holey parts, but it's still a phenomenally good movie. Also it's super nuts how it goes from something Day After Tomorrow-ey to Hunger Games-ey to... fuck knows how many themes are in there, it's such a bizarre movie and every single thing got flipped on its head at least once. I honestly think I lost count of the twists.
Also, very unexpected levels of violence. It's not crazily graphic but holy crap it's dark.
EDIT: WATCH IT TENNY
Unlucky said:
I KNOW RIGHT
I knew there was a reason the dude was collecting all the drug stuff that wasn't purely to take drugs but I can honestly say that is the only thing I remotely saw coming (and I didn't know exactly what he was collecting it for) wait also I kind of saw the double-cross or betrayal thing coming but considering he says to shoot him as soon as he sees him without letting him speak it kind of seems like he changed his mind or something idk.
I'm also super shocked at how dark it ended up being? "Babies taste best". Nopenopenopenopenope.
I'm also super shocked at how dark it ended up being? "Babies taste best". Nopenopenopenopenope.
Suspension of disbelief is required for certain almost plot-holey parts, but it's still a phenomenally good movie. Also it's super nuts how it goes from something Day After Tomorrow-ey to Hunger Games-ey to... fuck knows how many themes are in there, it's such a bizarre movie and every single thing got flipped on its head at least once. I honestly think I lost count of the twists.
Also, very unexpected levels of violence. It's not crazily graphic but holy crap it's dark.
EDIT: WATCH IT TENNY
Unlucky
WHERE HAVE YOU BEEN
I was honestly more bothered about the insect protein bars rather than the cannibalism lol
But yeah actually it wasn't until Edgar died when I began to think that this isn't the typical action movie I was pretty sure it was at first. I mean I wasn't even watching the first part and then it got weirder and I was like hold up rewind that shit I need to see this
I also like how the overall theme makes you think a whole lot about the real world but that it wasn't trying too hard imo to appear deep or anything, it just kinda played out and kept you thinking til the end
But yeah actually it wasn't until Edgar died when I began to think that this isn't the typical action movie I was pretty sure it was at first. I mean I wasn't even watching the first part and then it got weirder and I was like hold up rewind that shit I need to see this
I also like how the overall theme makes you think a whole lot about the real world but that it wasn't trying too hard imo to appear deep or anything, it just kinda played out and kept you thinking til the end
So yeah folks this is a must watch
It never came the theatres near me, and its not on canadian netflix. I've been looking forward to seeing it tho. If its on netflix Im guessing it's out on bluray, I'll have to pick it up
I did exactly the same thing. I was really put off in the first minute or so by something random and I was in bed all cosy and got to a certain point watching it sideways with my glasses off and then I bolt-uprighted and was like WHAT JUST HAPPENED. No sleep for me then XD.
When it comes to movie descriptions you get me at "post apocalyptic" or "global disaster" but lose me at "train" for some reason. I'm glad I watched it.
also
@Inter, you can watch it on American Netflix using Hola for Chrome or Firefox. That's how I watched it. If i was limited to UK Netflix I honestly wouldn't bother paying for the subscription.
When it comes to movie descriptions you get me at "post apocalyptic" or "global disaster" but lose me at "train" for some reason. I'm glad I watched it.
also
I did kind of eyeroll at a certain point when I thought all the tail-end passengers were dead because I thought "no regard for the sanctity of life all shooting each other ffs america" and then I remembered that this movie is South Korean with a refreshingly worldly twist and had to chastise myself for trying to reinforce my own negative stereotypes about the US (I do this a lot to the murcans here, I'm sorry).
The class thing was kind of taken to the extreme though. Would it really get that bad in that kind of situation? I also didn't really "get" all the party people kind of blundering through with sharp weapons. Do they live in perpetual party mode or something idk. But it's like you say the movie doesn't really try to be deep so that kind of makes these little faux pas OK.
Also the bit with the eggs 0_0
And yeah the part with the bugs was my first "oh shit" moment. The first of many. Bleuch. I guess it's a little disappointing in the sense that there's no real "happy" ending. I don't need an ending to be happy but I would have liked it if our main protag (was he a protag by the end holy shit)'s fate had been a bit clearer.
Also I was going to say that it's a plot hole that the world has somehow become livable but I've just realised that I misunderstood some dialogue I think because when gate-opener dude is talking about being able to see more of the plane so there must be heat to melt the snow I thought that he meant "there are people living in the plane!" but in fact he was of course referring to the climate warming, derp on my part. I just kept thinking back to the frozen people and couldn't get it out of my head for most of the movie that maybe they built elaborate looking snowmen so they wouldn't be followed or something, also that if they were actually frozen and still there frozen why would he think it's safe to leave? But yeah I answered this question myself XD.
I would have appreciated it more if the mother of the child had survived too. A lot was left ambiguous but I don't really mind that part. I don't need a happy ending but give me SOMETHING DAMMIT. I'm not sure what I had expected to happen. When you start off you're like "YEAH TRAIN EQUALITY" and then you start to realise that there's a reason it can't be shared out equally as they progress through the train. Crazy indulgence in later carriages notwithstanding but I was honestly shocked that the poorest people on the train actually seemed to make up a majority of the passengers. I mean they mentioned "First Class, Economy Class", and the rest of them (the ones fighting) so I was expecting there to be a shitload of people in economy, but it seemed to be kind of an even split. It seems most likely that the majority of those in economy were the people enforcing order. Either that or they skipped quite a few carriages.
The class thing was kind of taken to the extreme though. Would it really get that bad in that kind of situation? I also didn't really "get" all the party people kind of blundering through with sharp weapons. Do they live in perpetual party mode or something idk. But it's like you say the movie doesn't really try to be deep so that kind of makes these little faux pas OK.
Also the bit with the eggs 0_0
And yeah the part with the bugs was my first "oh shit" moment. The first of many. Bleuch. I guess it's a little disappointing in the sense that there's no real "happy" ending. I don't need an ending to be happy but I would have liked it if our main protag (was he a protag by the end holy shit)'s fate had been a bit clearer.
Also I was going to say that it's a plot hole that the world has somehow become livable but I've just realised that I misunderstood some dialogue I think because when gate-opener dude is talking about being able to see more of the plane so there must be heat to melt the snow I thought that he meant "there are people living in the plane!" but in fact he was of course referring to the climate warming, derp on my part. I just kept thinking back to the frozen people and couldn't get it out of my head for most of the movie that maybe they built elaborate looking snowmen so they wouldn't be followed or something, also that if they were actually frozen and still there frozen why would he think it's safe to leave? But yeah I answered this question myself XD.
I would have appreciated it more if the mother of the child had survived too. A lot was left ambiguous but I don't really mind that part. I don't need a happy ending but give me SOMETHING DAMMIT. I'm not sure what I had expected to happen. When you start off you're like "YEAH TRAIN EQUALITY" and then you start to realise that there's a reason it can't be shared out equally as they progress through the train. Crazy indulgence in later carriages notwithstanding but I was honestly shocked that the poorest people on the train actually seemed to make up a majority of the passengers. I mean they mentioned "First Class, Economy Class", and the rest of them (the ones fighting) so I was expecting there to be a shitload of people in economy, but it seemed to be kind of an even split. It seems most likely that the majority of those in economy were the people enforcing order. Either that or they skipped quite a few carriages.
@Inter, you can watch it on American Netflix using Hola for Chrome or Firefox. That's how I watched it. If i was limited to UK Netflix I honestly wouldn't bother paying for the subscription.
Unlucky
WHERE HAVE YOU BEEN
Zomg, I thought the same thing when the dude was rambling about the plane. I'm like, ok, the people that got out actually made it and lived there? Or are you gonna use it to fly somewhere where you think there's other people, idk
And the thing about class-- I thought it was silly exaggeration ala Hunger Games until it all made sense in the end. I mean, it's almost scary how it accurately portrayed real life in the carriages. The train just goes around and you know that it's eventually gonna give out, poor people fighting off injustice and for a better quality of life, and at the other end of the spectrum (or train I should say), extremely extravagant people who have no freaking clue how much suffering is out there. The train's basically Earth 2.0.
I thought having a fresh start makes for a happy ending-- I mean with how everything was meant to portray real life then it should probably end with humanity fucking itself over forever XD And Idk if it's saying something that the sole survivors are a Korean girl and a black kid, ha
And the thing about class-- I thought it was silly exaggeration ala Hunger Games until it all made sense in the end. I mean, it's almost scary how it accurately portrayed real life in the carriages. The train just goes around and you know that it's eventually gonna give out, poor people fighting off injustice and for a better quality of life, and at the other end of the spectrum (or train I should say), extremely extravagant people who have no freaking clue how much suffering is out there. The train's basically Earth 2.0.
I thought having a fresh start makes for a happy ending-- I mean with how everything was meant to portray real life then it should probably end with humanity fucking itself over forever XD And Idk if it's saying something that the sole survivors are a Korean girl and a black kid, ha
you're so lucky, i've been dying to watch this, but it's not available in Canada.
I went to the video store and bought it. I loved it. Even though the story is full of holes, like
Tilda Swinton was brilliant as always. I also loved the school teacher!
I'm not sure if the ending is supposed to be happy or not. The two last surviving humans may not freeze to death in minutes, but they can't really survive in that environment and will probably be eaten by polar bears. Maybe the lesson is that humanity and nature can't really share the same planet; humanity only survives through cruel and unnatural means, and so the best we can hope for is to stop and stare in wonder for a moment, before we become extinct.(?)
Tilda Swinton was brilliant as always. I also loved the school teacher!
Wolfhart
embraces her dreams
- AKA
- Monik XIII
Hey, I just watched this movie last Saturday! 
A little weird but I like the analogy between the train and our society. Also the fact that you keep making up theories about what's going to happen next and then something really unexpected happens. On the other hand, maybe there was too much violence for me
And I wasn't expecting that ending
A little weird but I like the analogy between the train and our society. Also the fact that you keep making up theories about what's going to happen next and then something really unexpected happens. On the other hand, maybe there was too much violence for me
And I wasn't expecting that ending
Bye, bye humanity!
- AKA
- X
I just got 'round to watching it.
The structure of the train didn't really make any sense about how it was supposed to have been survivable, or really any indication on why there wasn't a sustainable level of organization between the cars population-wise. They clearly moved the violinist up with little to no negative repercussions. They also never addressed why everyone who got moved up seemed totally different.
On top of that, the whole theme of organized chaos was just an exercise in ill-conceived futility winding up with everyone dead (there's no way the two kids survive the polarbear and winter, and even then with just the two of them, repopulation is impossible). I didn't really emotionally attach to any of the characters either, but I think that the mysterious resurrection of plot-gimmick-McKiller-guy was really weird -- as was the fact that no one addressed the totally fucked structural integrity that he & Curtis caused by shooting through the glass in the sections of the train. Also, of everything is balanced so carefully, how do you sustain a car of axe-weilding psychopaths and another of a continual rave, but only limited gardeners or other roles that seem to have virtually no one in them (like the twice-yearly employed sushi chef)?
I dunno, the reveal in the engine room did well to pick up the massive amounts of slack that the film was dragging around, but then nothing really comes of that revelation because it all falls apart. Hell, in 10 more rotations or so, they'd've all just been able to disembark in relative safety.
I dunno, I didn't really get any satisfaction from shock value even when it got relatively dark -- like with Curtis' story, and things like turning bugs into a protein-rich food source seems like a natural move despite the fact that there's a cultural discomfort with it now, it sure beats cannibalism but made Curtis gag when seeing it which seems a little odd retrospectively. Also- why was the girl psychic at first, and then apparently not later on? Lots of weird little plot points that never panned out and didn't seem to mesh in with the rest of the story, or seemed weirdly not well built in to the whole setting. My favourite part was the character of the artist photographer (since that's something you never think about in those settings and gave a lot of flavor to the back section when things were focused there).
tl;dr - Wasn't really my cup o' tea, and I don't really understand all of the praise that it received. I kinda feel like I have a weirdly objective and detached view towards shows like this, since it seems to fit in with things like Game of Thrones (which I've come to enjoy), and The Walking Dead (which I've come to stop caring about entirely), because stories in the face of extreme life or death scenarios just apparently aren't gripping to me at all. That aspect does nothing for me, so if the surrounding details aren't rock solid, I've got nothing keeping me connected to the story.
X
The structure of the train didn't really make any sense about how it was supposed to have been survivable, or really any indication on why there wasn't a sustainable level of organization between the cars population-wise. They clearly moved the violinist up with little to no negative repercussions. They also never addressed why everyone who got moved up seemed totally different.
On top of that, the whole theme of organized chaos was just an exercise in ill-conceived futility winding up with everyone dead (there's no way the two kids survive the polarbear and winter, and even then with just the two of them, repopulation is impossible). I didn't really emotionally attach to any of the characters either, but I think that the mysterious resurrection of plot-gimmick-McKiller-guy was really weird -- as was the fact that no one addressed the totally fucked structural integrity that he & Curtis caused by shooting through the glass in the sections of the train. Also, of everything is balanced so carefully, how do you sustain a car of axe-weilding psychopaths and another of a continual rave, but only limited gardeners or other roles that seem to have virtually no one in them (like the twice-yearly employed sushi chef)?
I dunno, the reveal in the engine room did well to pick up the massive amounts of slack that the film was dragging around, but then nothing really comes of that revelation because it all falls apart. Hell, in 10 more rotations or so, they'd've all just been able to disembark in relative safety.
I dunno, I didn't really get any satisfaction from shock value even when it got relatively dark -- like with Curtis' story, and things like turning bugs into a protein-rich food source seems like a natural move despite the fact that there's a cultural discomfort with it now, it sure beats cannibalism but made Curtis gag when seeing it which seems a little odd retrospectively. Also- why was the girl psychic at first, and then apparently not later on? Lots of weird little plot points that never panned out and didn't seem to mesh in with the rest of the story, or seemed weirdly not well built in to the whole setting. My favourite part was the character of the artist photographer (since that's something you never think about in those settings and gave a lot of flavor to the back section when things were focused there).
tl;dr - Wasn't really my cup o' tea, and I don't really understand all of the praise that it received. I kinda feel like I have a weirdly objective and detached view towards shows like this, since it seems to fit in with things like Game of Thrones (which I've come to enjoy), and The Walking Dead (which I've come to stop caring about entirely), because stories in the face of extreme life or death scenarios just apparently aren't gripping to me at all. That aspect does nothing for me, so if the surrounding details aren't rock solid, I've got nothing keeping me connected to the story.
X
Alchemist168
SOLDIER Class Zero
I loved the movie but I am a sucker for dark films about post-apocalyptic civilizations. The whole premise is interesting: sustainable life on a continuously moving train, complete with class division and the works. Some things were ridiculous (There's a part of the train specifically for the "club scene") but still a great movie and some interesting messages about society.
- AKA
- gabe
I just got 'round to watching it.
The structure of the train didn't really make any sense about how it was supposed to have been survivable, or really any indication on why there wasn't a sustainable level of organization between the cars population-wise. They clearly moved the violinist up with little to no negative repercussions. They also never addressed why everyone who got moved up seemed totally different.
On top of that, the whole theme of organized chaos was just an exercise in ill-conceived futility winding up with everyone dead (there's no way the two kids survive the polarbear and winter, and even then with just the two of them, repopulation is impossible). I didn't really emotionally attach to any of the characters either, but I think that the mysterious resurrection of plot-gimmick-McKiller-guy was really weird -- as was the fact that no one addressed the totally fucked structural integrity that he & Curtis caused by shooting through the glass in the sections of the train. Also, of everything is balanced so carefully, how do you sustain a car of axe-weilding psychopaths and another of a continual rave, but only limited gardeners or other roles that seem to have virtually no one in them (like the twice-yearly employed sushi chef)?
I dunno, the reveal in the engine room did well to pick up the massive amounts of slack that the film was dragging around, but then nothing really comes of that revelation because it all falls apart. Hell, in 10 more rotations or so, they'd've all just been able to disembark in relative safety.
I dunno, I didn't really get any satisfaction from shock value even when it got relatively dark -- like with Curtis' story, and things like turning bugs into a protein-rich food source seems like a natural move despite the fact that there's a cultural discomfort with it now, it sure beats cannibalism but made Curtis gag when seeing it which seems a little odd retrospectively. Also- why was the girl psychic at first, and then apparently not later on? Lots of weird little plot points that never panned out and didn't seem to mesh in with the rest of the story, or seemed weirdly not well built in to the whole setting. My favourite part was the character of the artist photographer (since that's something you never think about in those settings and gave a lot of flavor to the back section when things were focused there).
tl;dr - Wasn't really my cup o' tea, and I don't really understand all of the praise that it received. I kinda feel like I have a weirdly objective and detached view towards shows like this, since it seems to fit in with things like Game of Thrones (which I've come to enjoy), and The Walking Dead (which I've come to stop caring about entirely), because stories in the face of extreme life or death scenarios just apparently aren't gripping to me at all. That aspect does nothing for me, so if the surrounding details aren't rock solid, I've got nothing keeping me connected to the story.
X
I think it's interesting to note that some of the things you are criticizing are for a lack of a better word, the point. At least the point made real in the directing and cinema tricks to convey a message.
Directors use inconsistency and absurd infrastructure to create feeling in the viewer. That not all is well, something here does not add up or something is terribly wrong here. Famously Kubrick did this in the Shining where the hotel architecture is literally impossible, as in there are a myriad of doors that lead no where and rooms with windows that can not possibly have windows. He later reinforces these inconsistencies through out the movie with the many "walk throughs" where if you have a keen eye you can pick a part just how impossible the floor plan of the hotel actually is. He also keeps changing the furniture positioning ever so slightly (and later greatly) as the movie progresses to make you feel uneasy.
Gilliam is another director who uses absurdity to set up the world and I don't think it's a stretch to think other scifi directors have taken a page out of his book. Especially when you consider the spiritual leader of the train shares the same name
The ending is supposed to be like that. It's a nihilistic ending meant to throw itself perpendicular to the linear narrative of the film. Radical change can be impossible and if you attempt to topple the structure of society you very well could kill yourself and everyone along with you.
What's interesting is the juxtaposition of theme in that it gives you the feeling that the 2 children will survive. Though deep down and logically you know there is no way in hell they could. What do you believe? The tv propaganda telling you they will be fine or logic?
Logically the right choice would be for Evans character to assume leadership and wait out the cold, but that would just be fulfilling the status quo in a movie about the reality and consequences of trying to change the world you live in. Both possible endings are just as realistic in the end either way nothing changes or it changes way to much.
Any who I think if you really loved the film or even really hated it you guys should watch this there it goes over a few cool things that were put in. Though the second half of the video is all fairly obvious stuff
edit:
Here is a 2 part video going over how Kubrick used spatial awareness in The Shining that i referenced earlier in case you guys were curious.
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- AKA
- X
There's a VAST difference between the psychological and illusory elements in something like The Shining being used to generate a sense of unease Vs. not creating a believably functional dystopic environment. I love when people use things like that in cinematography that enhance the setting of the film, but I hate when they're used to cover for its shortcomings. The Shining uses them superbly, because there's all sorts of psychological shit happening in a place with blood-spewing elevators where impossible dimensions in a hotel make sense. I fucking loathe the later because it's trying to use the "strength" of the artistic vision (i.e. the constant use of profile shots, and the use windows for the middle class cars, etc.) as enough to overshadow all of the overwhelmingly shoddy craftsmanship for the setting. I have to say that I love The Hunger Games films and absolutely hated The Giver movie for the same reason. If you're going to make a dystopia, you have to make a system that somehow stands up to some level of realism if you're going to make a conflict about survival within or apart from that system.
So... it's meant to reinforce the idea that maintaining the (wholly unbelievable and unsustainable linear) path (that makes no goddamn sense) that everyone fights against is the best option? Is it a capitalist propaganda film then, because at least that would've kept everyone alive (even though there's no way that the train worked to keep people alive in the first place)? The message basically amounts to, "Here are two laughably ill-conceived ways that society will fucking destroy itself. The end."
There's literally NOTHING in the film that even gives a shadow of a remote feeling that those two kids are going to somehow survive. Not even a little bit. They're fucked, and they killed everyone else on the entire train to freeze to death and become polar bear food.
The issue is that the whole system as it's set up on the train is so laughably unsustainable AS IS that even if Evans' character reaches the front of the train and takes over, there's a thousand ways to maintain a better semblance of survivability than what's present -- because there's no way that the present system actually works AT ALL. Sure, the train is an obvious and ham-fisted model of the existing classes in capitalism like the video you showed points out -- but when you're using a front-to-back train as a way to represent that, if you can't show how everyone in those systems exists within that dystopia and it HAS to maintain itself in that structure for a believable reason, then your narrative is a fucking joke.
The problem is that the whole system that's presented as a sustainable "Arc" for humanity's survival just isn't on any level. Even if you take the HUGE leap of suspension of disbelief to accept the train motif for what it is (the artistic representation of the unstoppable linear class system), the way that it's portrayed within the train is so cliche and poorly designed that it completely removes any sense of their struggle being believable. You keep having moments like the "insert car stuffed full of of BDSM-geared psychopaths who we manage to feed and care for... somehow" that make no sense to the idea of there being a system for maintaining survival that I don't believe ANY of it in a literal sense or feel that there's any value to be taken from it in a figurative sense.
tl;dr - There isn't any aspect of this film that works for me, aside from it being an unintentional metaphor for itself -- 2 hours and 6 mins of a pointless trainwreck of a film.
X
So... it's meant to reinforce the idea that maintaining the (wholly unbelievable and unsustainable linear) path (that makes no goddamn sense) that everyone fights against is the best option? Is it a capitalist propaganda film then, because at least that would've kept everyone alive (even though there's no way that the train worked to keep people alive in the first place)? The message basically amounts to, "Here are two laughably ill-conceived ways that society will fucking destroy itself. The end."
There's literally NOTHING in the film that even gives a shadow of a remote feeling that those two kids are going to somehow survive. Not even a little bit. They're fucked, and they killed everyone else on the entire train to freeze to death and become polar bear food.
The issue is that the whole system as it's set up on the train is so laughably unsustainable AS IS that even if Evans' character reaches the front of the train and takes over, there's a thousand ways to maintain a better semblance of survivability than what's present -- because there's no way that the present system actually works AT ALL. Sure, the train is an obvious and ham-fisted model of the existing classes in capitalism like the video you showed points out -- but when you're using a front-to-back train as a way to represent that, if you can't show how everyone in those systems exists within that dystopia and it HAS to maintain itself in that structure for a believable reason, then your narrative is a fucking joke.
The problem is that the whole system that's presented as a sustainable "Arc" for humanity's survival just isn't on any level. Even if you take the HUGE leap of suspension of disbelief to accept the train motif for what it is (the artistic representation of the unstoppable linear class system), the way that it's portrayed within the train is so cliche and poorly designed that it completely removes any sense of their struggle being believable. You keep having moments like the "insert car stuffed full of of BDSM-geared psychopaths who we manage to feed and care for... somehow" that make no sense to the idea of there being a system for maintaining survival that I don't believe ANY of it in a literal sense or feel that there's any value to be taken from it in a figurative sense.
tl;dr - There isn't any aspect of this film that works for me, aside from it being an unintentional metaphor for itself -- 2 hours and 6 mins of a pointless trainwreck of a film.
X
- AKA
- Yop
I just watched it... TL;DR, I don't get it. Which either means the movie is 2edgy4me, or X is right and it's kinda shit.
I liked the basic idea though - a tl;dr train where each car is another utopian/dystopian surprise would make for a neat concept and reminded me a lot of Bioshock/Rapture. That one did it much better though. I wouldn't mind a bit more fleshing out of that concept, allowing for more practical shit - like IDK, living quarters, jobs, etc. It's really unrealistic that people go to fancy dress parties or raves as their basic daily activity, and the feeling of "Yeah I could understand that" kinda took a nosedive once they got to the aquarium and such.
As for the plot... I don't get it either. They started with undramatically killing off each of the good guys one by one for pretty much no plot purpose and/or just shock value, and if they did it for the latter, they could've done it better. And of course there's the ending, that basically goes "Actually fuck you, everything is meaningless, everybody dies for no reason whatsoever". I was waiting for Curtis (?) to do something like "Aight I'll take over", kill the boss and invoke the Deus Ex Machina to fix global freezing and start repopulating the earth or something like that. Instead, there's something random with zombie mechanic kids, one disappears into the mystery core, and oh the Japanese guy blows his drug stash and kills everyone for no reason whatsoever.
Can someone explain to me what the actual plot is?
And why the fuck is there a polar bear in the Alps.
As for the plot... I don't get it either. They started with undramatically killing off each of the good guys one by one for pretty much no plot purpose and/or just shock value, and if they did it for the latter, they could've done it better. And of course there's the ending, that basically goes "Actually fuck you, everything is meaningless, everybody dies for no reason whatsoever". I was waiting for Curtis (?) to do something like "Aight I'll take over", kill the boss and invoke the Deus Ex Machina to fix global freezing and start repopulating the earth or something like that. Instead, there's something random with zombie mechanic kids, one disappears into the mystery core, and oh the Japanese guy blows his drug stash and kills everyone for no reason whatsoever.
Can someone explain to me what the actual plot is?
And why the fuck is there a polar bear in the Alps.
I don't notice those things, I don't know if it's because I'm engrossed or because I just fail at being super observant. Watching stuff with my friend sometimes drives me nuts, because she is super duper good at catching goofs and her number one thing is coffee.
The hollywood coffee cup.
I've pointed it out to you, so now you'll see it in absolutely everything you watch, ever (if you didn't already). There is not a single actor in the world who is capable of holding a paper coffee cup (a la Starbucks) like there's actual liquid in it. It's really really bad. I don't know why they don't just fucking fill them with water. In a lot of scenes (in everything, ever) they might as well just hold the damn things upside down with the amount they wave them about. Awful.
The hollywood coffee cup.
I've pointed it out to you, so now you'll see it in absolutely everything you watch, ever (if you didn't already). There is not a single actor in the world who is capable of holding a paper coffee cup (a la Starbucks) like there's actual liquid in it. It's really really bad. I don't know why they don't just fucking fill them with water. In a lot of scenes (in everything, ever) they might as well just hold the damn things upside down with the amount they wave them about. Awful.