To begin with I'm not a fan of Bong Joon-ho. I discover this almost by accident because I had no idea that he was behind Snowpiercer and the Netflix produced, Okja. I couldn't get through the first one and I fell asleep during the second. I gave this one a shot even though I knew that hyped movies are not my cup of tea. They seem to be self-reliant on the hype they generate, that somehow should be enough to reassure us, they'll leave us with an unforgettable memory.

So while this movie isn't bad and technically well-made, is far from unforgettable. It's heavy-handed and pushes the device of the screwball comedy far enough to make its subversion and consequent transformation into carnage, less plausible. A mechanism very dear to French director Francois Ozon, who Bong Joon-ho seems to be definitely indebted to.

A movie that certainly pleases the crowds with its grotesque and cynical satire and its deliberate use of violence. To quote Calvino: "What many consider to be the vitality of the times - noisy, aggressive, revving and roaring - belongs to the realm of death, like a cemetery for rusty old cars."