22 Comments

  1. That made very little sense and was quite boring at the same time.

    There’s a rail accident and the steel company is in trouble so a new rail company is formed or something?

    Trains? Really, trains?

    1. Here’s two relivant comments from poeTV:
      “The story is supposed to be in a dystopian America that’s in a depression greater than or equal to the 1930s. It’s supposed to be a mystery story (which is why everyone is asking about John Galt) and the rail system is messed up because they’re designed and run by government committees of clueless, political appointees. Dagny Taggart (the blond who’s supposed to be calm, logical and unemotional) thinks she can create high speed rail system. When Atlas Shrugged was written in the 1950s, high speed rail was nearly as science fiction as Star Trek. So, judging by the trailer, the movie seems to have changed a bunch of stuff that messes up the whole point of the story. Hopefully it’s just a typical, bad trailer.”

      … and …

      “The modern setting doesn’t sit right with me either. It’s true Rand wrote the story with a timelessness in mind (a specific year is never given), but a railroad company makes no sense in today’s context. Plus you just plain give up a lot of the awesome potential for Art Deco/Steam Punk style that a Rand novel would scream for (and that Bioshock did so well).”

  2. I loved Atlas Shrugged when I was an adolescent.

    Then, when I grew up I learned that there has never been a private rail company that succeeded without government assistance.

  3. I hope this movie tanks. Until now Ayn Rand ideology was largely restricted to the USA but a movie being unleashed over unsuspecting international audiences can only make the world suck more, if successful.

    1. Right now, more than anything, I want to see an old-school, cold-war-era film about the Domino Effect and the Objectivist Menace with that ominous grey blob spreading out over the map. Someone with talent needs to make this.

  4. As I was never able to wade through the turgid prose of her books, I can guarantee I won’t see the film–or even look at the trailer.

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