The Snowman (2017)
The Snowman is an awfully dumb movie that mistakenly believes it is smart. It’s convoluted, impenetrable, serious to the point of hilarity, and a general waste of everyone’s times and talents. When the best part of your movie is the scenic views of Norway, and unless it’s a documentary about Norwegian winters, then you have done something very, very wrong. The Girl with the Dragon Tattoo this ain’t.
Harry Hole (Michael Fassbender), possibly the most regrettably named protagonist in recent memory, is a brilliant detective on the hunt for a killer in Oslo. Someone is abducting women and chopping them up into snowmen. The killer even sends Harry a taunting note with a crude drawing of a snowman. Together with a new partner, Katrine Bratt (Rebecca Ferguson), they try and hunt the cold-blooded killer with a penchant for snowmen.
The plot is so convoluted and hard to follow that it’s a challenge just to work up the energy to keep your eyes open as scene after scene plods along. The Snowman doesn’t so much exist as a functional screen story but more a series of incidental scenes that barely feel connected. It feels like one scene has no impact upon the next, which eventually sabotages any sense of momentum and direction. It feels like it’s going nowhere because none of these moments feel like they’re adding up to anything. There are entire subplots and characters that are, at best, tangential to the story and could have been culled completely with no impact. J.K. Simmons’ wealthy sleaze and storyline about securing the World Cup for Oslo comes to nothing. The self-recording police device seems destined to record something significant. It does, but then the killer just erases the footage. This entire storyline could have been achieved with a smart phone, including the part where a severed finger is required to break the device’s fingerprint lock. Val Kilmer’s flashbacks (he sounds weirdly dubbed and looks sickly) as a murdered detective don’t really come to anything or offer revelations. In fact the revelations that do arise are not gleaned from clues but are merely told to us with incredulous haste. The Snowman poster boasts “I gave you all the clues” but I challenge anyone to tell me what they are. What’s the point of a mystery where nothing matters? It’s a film stuffed with nonessential details and lacking a key point to engage.
I’ll give you another example of how moronic and wasteful this movie is, and it involves none other than Oscar-nominated actress Chloe Sevigny (Boys Don’t Cry). Harry Hole and Katrine visit Sevigny’s character and (mild spoilers but who really cares?) approximately two minutes later she is decapitated. Seems like a pretty big waste of an actor of Sevigny’s caliber on a do-nothing part. The police show back up on the scene and Sevigny is still walking around alive, this time introducing herself as the twin sister we never knew about. Ah, now perhaps the inclusion of Sevigny will be warranted and maybe the killer having confused his victims will be a significant clue that leads the detectives onto the right path. Think again, hopeful audience members. Sevigny is never seen from again, never heard from again, and never even referenced again. Why introduce the concept of an identical twin and do nothing with it? Sevigny had not one but two do-nothing parts in this mess.
Even the ending (again spoilers, but we’ve come this far, so why the hell not?) elicited guffaws. Harry Hole tracks down the killer outside onto an icy lake and screams for this person to confront him. The killer then immediately shoots Harry in the chest, immobilizing him. The killer then slowly stalks Harry and then simply walks into an open hole in the ice and drowns. Was that there the entire time? Did Harry somehow create it? Did he find it and strategically position himself near it? Did the killer not see this hole in the ice at all considering they were walking up on Harry from a distance? It’s such a hilariously anticlimactic ending that it feels like the killer, and so too the movie, is meekly giving up and accepting defeat.
The main character is just as uninteresting as the gruesome killer. Harry Hole is reportedly a brilliant detective and one whose past cases are so revered that they are taught in places of higher learning. Yet, at no point in the movie do you gain the impression of his oft-stated brilliance. He seems pretty bad at his job, plus he constantly loses track of his gun. It’s another example of the movie telling us things without the requisite proof. Harry Hole (referred to as “Mr. Hole” and “the Great Harry Hole” too) is your typical super driven alcoholic detective who pushes his family away because he’s too close to his work. There is the germ of a starting idea of a character that is too selfish to make room for his family, but this isn’t going to be that story. At one point, Harry Hole’s ex-girlfriend (Charlotte Gainsbourg) seems to be having a self-destructive affair with Harry Hole, but this dynamic isn’t explored and only surfaces once. It’s a scene so short that it’s over before Harry Hole can literally get his pants off. We don’t see the brilliant side of the character and we’re also denied the evidence for his destructive side. Fassbender (Assassin’s Creed) is on teeth-gritting, laconic autopilot here and the English-speaking cast tries their own game of playing Norwegian accents while sounding mostly British or Brit-adjacent.
Even the title is one more example of how woefully inept this movie becomes. Surprise: the snowman means absolutely nothing. It’s not some key formative memory from the killer’s childhood or some integral icon attached to a traumatic experience. It’s not even a bizarre sexual fetish. The snowman doesn’t even mean anything to the guy making the snowman in the movie! You’d be forgiven for thinking that the presence of snowmen are entirely coincidental throughout Oslo and the whole of the film. It’s so stupidly misapplied as well, with the movie working extra hard to make the very sight of a snowman as a moment to inspire uncontrollable fright. It goes to hilarious lengths, like a camera panning around an ordinary snowman that then reveals… a second snowman built into its snowy back. OH NO, NOT THE DOUBLE SNOWMAN. There’s a moment when Harry looks down to his car parked on a street and sees… a snowman having been carved into the snow atop the car. OH NO, NOT A SNOWMAN INDENTATION. Just imagine the killer standing on the hood of the car and digging snow out on top to craft his masterpiece of snow-art-terror. I just start laughing. Then there’s the application of the murders. When the killer is severing heads and putting human heads atop snowman bodies, now we’re in business. That’s an image worthy of the genre. However, there’s also a scene where the killer blows someone’s head off and replaces it with a snowman’s head. It’s such an absurd image and it’s going to melt before most people find it, so what was the point exactly? Then there’s the idea of thinking of the killer rolling a severed head into a snowball, which just makes me laugh thinking about somebody stooped over and toiling to make this happen. Ultimately, the snowman is so peripheral and meaningless, my friend Ben Bailey remarked it would be as if you renamed Seven as Toast because the killer also ate toast occasionally (“No, no, trust me, the toast is more important than you think…”).
I thought at worst The Snowman was going to be a high-gloss Hollywood equivalent of a really stupid episode of TV’s really stupid yet inexplicably long-running show, Criminal Minds. This is far, far worse. At least with your casual Criminal Minds episode, it’s garish and lousy and icky in its sordid depiction of grisly violence against women, but you can still understand what is happening on the screen. You can still follow along. The Snowman is impenetrable to decipher, not because it’s complicated but because it’s all misinformation and filler. According to interviews, director Tomas Alfredson (Tinker, Tailor, Soldier, Spy) was unable to film about 10-15 percent of the script because of hectic schedule demands, so no wonder it’s so difficult to follow. Very little makes sense in this movie and what does has been done better in a thousand other movies. This makes The Girl with the Dragon Tattoo look like Shakespeare. With a dull protagonist who doesn’t seem exceptionally competent at his job, paired with a dull antagonist with no larger game plan or purpose, or even personality, and a mystery with a dearth of clues to actively piece together, the movie turns ponderous, punishing, and psychologically shallow. It’s a dumb, dumb, dumb movie that thinks it’s smart and contemplative with a cold streak of nihilism. This silly thing takes itself so seriously that, if you’re like me, you’ll find yourself cackling at its desperate attempts to make the visage of a snowman into the stuff of nightmares. This feels more like genre parody. The Snowman is an aggressively bad whodunit that fails to make an audience care about any single thing happening. You’re better off staying home and watching the worst of Criminal Minds instead.
Nate’s Grade: D
Posted on October 19, 2017, in 2017 Movies and tagged book, charlotte gainsbourg, crime, j.k. simmons, michael fassbender, mystery, rebecca ferguson, serial killer, thriller, toby jones, tomas aflredson, val kilmer. Bookmark the permalink. 1 Comment.