BY JOSEPH TRONICEK There’s an edit near the end of The Snowman, where a child suddenly pops up in the window of a car in hopes to playfully scare the two adults inside. The camera pushes in quickly and there is a jolt of music. Then the child smiles. Such is the rest of the film. The main problem with The Snowman is an issue of tone, and I’m not talking about how ridiculous juxtaposing a small snowman with what could be called “David Fincher,” material. I’m talking about the little details from the set design to the cinematography to weirdly propagandist themes about traditional families. Anytime that the film comes close to having a dark or real moment there’s an oddly bright set, a weird line or someone says Micheal Fassbender’s characters name, each coming in more rapid secession as the films pacing speeds up no matter the scene or context. This means that none of the emotions seem to stick and anything slightly dramatic comes off as stupid or absurd. Cutting from an eerie telephoto shot of car winding over a bridge to an eerie shot of a house that has Norwegian disco music is hilarious. One could go on for a long time about every single instance in this film where tonal dissonance gets in the way. The third act literally eats the second act, and makes sure any of the dramatic tension that was formed, if any, means nothing. This is a boring, bland, wrongheaded film, unfortunately from a group of people that is far too good for this product. I give The Snowman a 1 out of 10.
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December 2017
CategoriesAuthorHello welcome to FilmAnalyst. My name is Stephen Tronicek, and I really like movies. This is a way to get my opinions out to people. Thank you for visiting. |