The disappearance of a local woman sends a team of investigators on the hunt for a killer with a chilly side, in ‘The Snowman’. Michael Fassbender , Rebecca Ferguson and Charlotte Gainsbourg star in this terrifying thriller from director Tomas Alfredson. Based on Jo Nesbø’s global bestseller of the same name, the film begins when an elite crime squad’s lead detective, Harry Hole, yep that’s his name, (Fassbender) investigates the disappearance of a victim on the first snow of winter. Harry fears an elusive serial killer may be active again. With the help of a brilliant new recruit, Katrine Bratt (Ferguson), the cop must connect decades-old cold cases to the brutal new one if he hopes to outwit this unthinkable evil before the next snowfall. ‘The Snowman’ is rated R for grisly imagery, brutal violence, some adult language, and sexuality involving brief nudity.
History has proven that novels are often the winner in their often times inevitable showdowns with the big budget adaptations. More times than not, a book can grant you the kind of freedom from restrictions that hinders a film cold from keeping up the entertaining factor. No sentence will better define ‘The Snowman’, as this jumbled, melted mess that limps its way to a finish that had me questioning where it all went wrong. It is my opinion that much of the problems that screenwriters Peter Straughan and Hossein Amini encounter is in their desire to over-convolute a story that doesn’t require a thinker’s approach. The case within this story is your basic serial thriller, so when the film tries to demand that unnecessary reach to intelligence, it comes up short in its returns that bore you out of your seat. At nearly two hours, so much of ‘The Snowman’ can be trimmed or edited to fit its narrative, but this film is so poorly directed that it makes it easier to understand the negative side of when a film is left in improper hands, the making of such a decision that soils Alfredson’s often prestigious name and leaves him out in the cold for a story that fumbles at nearly every given chance.
The story for the film makes the conscience decision to craft this as a dual narrative for the first half of the movie. This second tier is led by Val Kilmer as an alcoholic detective nine years prior whose own obsession for The Snowman Killer ruined his life. I see the importance of what this arc played to our story in the bigger picture, but its insistence upon eating up valuable minutes of exposition comes at quite a hefty price. This could’ve easily been used in various flashbacks throughout the film, but every fifteen minutes or so, we are reminded of its existence by a brutal shoving in the script that doesn’t distinctly signify when this flashback happens or give any kind of indication of the time switch. Elsewhere, this screenplay feels gobbled up by a series of gaps and holes in sequencing that leave its audience struggling when trying to keep up. Things just kind of happen without any rhyme or reason, leaving me to wonder if a bigger director’s cut is lurking on a shelf somewhere. Either way, I’m not interested. As for the mystery itself, it’s somewhat intriguing, particularly during the early third act when it does start to feed into its ambiguity, but it’s ruined on one brutal shot of spoiler with about twenty minutes left in the film, that gives away everything without reaching a beneficial shock in its reveal. The final fight sequence is so underwhelming in its conclusion that I found myself asking repeatedly if that was it.
Possibly my biggest problem with the film is in the editing that can’t possibly be justified at a professional level. I’ve already mentioned that it feels like this script is subject to holes in progression that make it feel like an entire movie is missing, but the true horror comes in the fact that somewhere someone lacks that kind of personal imprint from the director that tells them when a scene should be shortened or ran longer. With ‘The Snowman’, there are many scenes left in this final cut that had me scratching my head for what pivotal role they played. There are also scenes that I felt were finally getting us somewhere, but were jarringly ripped from the screen with malicious intent. The editing is so devastatingly awful in this film that it in its own way is responsible for the mind-numbingly dull pacing that never bothers to pick up momentum or move cohesively as one continuous movement. Until the third act when things start to somewhat pick up in mystery, I was bored to tears because of the lack of energy or impressionable character that exerted itself into this movie.
On the latter of that concept, the performances within the film are about as good as they could be considering this top notch cast is getting no direction beyond the camera. Considering this is a film that takes place in Oslo, Norway, not one character speaks with the proper accent or even remotely struggles in speaking English. Fassbender can only do so much, despite being one of the most versatile actors working today. As Harry, we hear about a legend that has done so much, but there’s nothing about him that ever makes you understand why he is depended upon so much. To me, I feel like Harry’s biggest positive is that he’s in the right place at the right time, and that’s about as underwhelming with a protagonist as you can get. Val Kilmer is depressing because you can see on-screen how much life has worn him down, and shitty films like this will only make it worse. Kilmer’s painfully obvious ADR voice-dubbing is something that adds a jarring aspect of immersive break for me in each scene, and Kilmer can barely move at this point, let alone invest every emotional muscle to giving a performance for the ages. It’s just not there. J.K Simmons and Charlotte Gainsbourg are wasted in the bigger picture that doesn’t involve their characters holding weight within the complexity of this screenplay, and sadly Chloe Sevingly is only in one scene for the movie. Possibly the only actor who gets away with a passing grade is Rebecca Ferguson. Her performance at least feels like one with the proper kind of motivational pull, and there were times in the film where it feels like this should definitely be more of her movie than Fassbender’s Hole (Sounds terrible) because of this perspective. Ferguson commands Bratt with the kind of intensity in vengeance that has me screaming out to Hollywood and begging them to put this woman in a STARRING role for once, atop her own movie. To make something out of this hodge-podge, we owe her at least that.
Not all was terrible for me however, as the film’s visual compass was stunning in its overall cinematography and tonal volume that visually appealed to me. ‘The Snowman’ is very much an absorbing kind of movie that locks you into its setting almost immediately, and you can’t help but feel transfixed by the seclusion in immensity of the grand scale being depicted in the film’s opening shots. The sound mixing could’ve been better in audibly immersing me tighter in the experience, but the landscape shots and shooting locations were used superbly in setting a stage that unfortunately lacks the fire in material to combat the ever-enveloping cold around us. What this setting does wonderfully is replicating in detail the kind of character response that eats away at our main cast almost entirely. It feels like Harry and company have lived here for too long, becoming a product of their cold, harsh environment that has swallowed them whole and left them bitter.
THE VERDICT – ‘The Snowman’ collapses under a series of devastating plot holes and contrivances that leave it struggling to reach air from its numbing series of unnecessary plot contrivances. This underdeveloped mess of a film wastes its talented cast almost entirely, and leaves itself falling as the latest victim to being inferior to its multimedia predecessor of the same name. Adaptations can be done with excitement, but Alfredson’s dreadful direction here leaves this snowman without a base to prop itself up on.