One of the most exciting aspects of Korean director Joon-ho Bong's long-awaited sci-fi blockbuster, “Snowpiercer,” is that it exists. An experimental cross between post-apocalyptic dystopian fiction, disturbing psychological horror, in-depth character study, and scathing political commentary, “Snowpiercer” blazes a trail of innovation.

A failed attempt to prevent global warming has resulted in an ice age and the death of nearly all life. The only trace of humanity left is aboard the Snowpiercer, a train entirely reliant on a cryptic engine engineered by a enigmatic conductor. The train moves in the same circle for years on end, but maintains a comfortable enough environment to foster these last humans. The passengers are grouped in train cars by social class and how their families first boarded the train. Those who paid for expensive tickets have guaranteed their lineage a permanent spot in the luxurious front of the train, while the children of stowaways reside in the nauseatingly decrepit back cars.

The film becomes a thriller as a group of fraudsters at the back of the train attempt to upset the class system through rebellion. The joy of this section comes from the combination of subtle detail and bombastic action. Gore and combat are coupled with commentary while characters develop and the universe of the train is further fleshed out. Bong is juggling a million balls at once throughout the film, rarely letting one fall.

“Snowpiercer” may be an experimental cross between multiple genres, but it's also a balancing act between intellectual and popcorn entertainment. Someone interested in cool-looking fight scenes could enjoy it as much as a cinephile searching for pitch-perfect editing. “Snowpiercer” is one of the most engaging and exciting films this year.