David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Why bother with scripted material? In The Real Cancun camera crews follow 16 college kids for eight days of spring break debauchery in Cancun Mexico and record every drunken sexual and shirt-lifting moment. In true The Real World fashion casting producers went out of their way to select a diverse and uninhibited bunch that would beget enough clashes and hookups to tantalize moviegoers for 97 minutes. The ensemble includes among others strictly platonic buds Heidi and David non-drinker Alan Texas Tech party twins Roxanne and Nicole the already hitched Sarah and male slut Jeremy. Add lots of alcohol to the mix and things get interesting. The gang of drunken teens eventually peer-pressures Alan into drinking and we get to witness his life spiral out of control: "I wanna see hooties!" the former square peg hollers after his first shot of tequila. That's about as deep as it gets folks but it's doubtful anyone going to see The Real Cancun is expecting anything meaningful. Moviegoers will at least walk away from this film with two invaluable lessons: Men will discover that head-game playing women long to be pursued by virile members of the opposite sex; women come to the realization that all men really want is to get laid.
With the exception of a few players The Real Cancun cast is a pretty likeable one. One of the most memorable is Wisconsin native Laura. This kewpie thinks she has met the man of her dreams in sexpot Jeremy. But barely a day after they hook up this insensitive guy is already moving on to his next target--with Laura in the same room. You'll love how she spends the rest of the trip blatantly sabotaging his potential trysts as best she can. There's also Sky who spends several days teasing Paul into a sexual tizzy only to leave him hanging. When Paul eventually stumbles into a more receptive girl's bed he finds himself face to face with the Wrath of Sky. Duh--doesn't he get that she would have given it up had he pursued her just one more day? But with 16 teens to document it would be impossible to relate to so many different spring break experiences and some inevitably fall by the wayside. Amber Brittany and Fletch for example were either forgotten about or left on the cutting room floor. Others like Miami model Casey are simply too flaky to care about.
Helmer Rick De Oliviera previously served as executive producer on a couple of MTV series--and it shows with this directorial debut. The movie plays out like a truncated season of The Real World complete with enthusiastic introductions fights hook-ups and sad good-byes. The difference is the film is filled with R-rated bonuses including a wet T-shirt contest some grainy nighttime surveillance footage of teens bumping and grinding away and other things they can't get away with on cable TV. Here's an afterthought: wouldn't it be cool if the producers brought the kids back for a reunion special so we could find out who left Cancun with crabs? The Real Cancun of course doesn't deal with the downside of Spring Break or its repercussions. But if you let yourself be immersed in its irrelevance it actually has some enticing moments which to some moviegoers might be the nipple-pierced twins' incestuous striptease. Actually one of the funniest moments is from an outtake in which Heidi calls her mom to tell her rapper Snoop Dogg is staying at their beachfront villa. "A loose dog?" mom shoots back proving yet again that parents just don't understand.
And then there was 12. The Oscar camp has announced the dozen second-round qualifiers for the Best Documentary prize. And judging by the lineup, it doesn't look like the deciding committee is experiencing its usual "forgetfulness" when it comes to potential nominees.
The list is a virtual hit parade, including some of the year's most talked-about films -- from the absurd ("Mr. Death" ) to the sublime ("Buena Vista Social Club") and the farcical ("American Movie") to the serious "On The Ropes."
The following is the complete list:
"Amargosa" "American Movie" "Beyond the Mat" "Buena Vista Social Club" "Genghis Blues" "Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr." "On the Ropes" "One Day in September" "Pop & Me" "Smoke and Mirrors: A History of Denial" "The Source" "Speaking in Strings"
A committee of Academy members selected the docs. Final voting is currently taking place in Beverly Hills, New York and San Francisco where voters will screen the flicks before voting for five that'll earn official nominations. Overall, 55 feature-length docs were eligible for the 1999 competition.
Nominees for all 22 Academy Award categories - including Best Documentary -- will be announced Feb. 15 at 5:30 a.m. PST.
ALL HAIL NERDS: The unsung heroes of the movie business - tech heads, hardware geniuses, overworked engineers, etc. -- are getting their moment in the so-called limelight, too.
The Academy Awards folks are set to honor the behind-the-sceners for outstanding scientific and technical achievement in ceremonies March 4 in Beverly Hills. (Of course, unlike the movie-star types, the nerds will receive plaques and certificates, not shiny statues.)
Also, unlike the movie-star types, the nerds won't have to wait to find out if they've won. The Academy released its list of 12 techie awards Tuesday.
The following is a list of the recipients and their achievements.
Scientific and Engineering Awards:
Nick Phillips, for the design and development of the three-axis Libra III remote control camera head.
Fritz Gabriel Bauer, for the concept, design and engineering of the Moviecam Superlight 35mm Motion Picture Camera.
Iain Neil, Rick Gelbard and Panavision Inc., respectively, for the optical design, mechanical design and development of the Millennium Camera System viewfinder.
Huw Gwilym, Karl Lynch and Mark Crabtree, for the design and development of the AMS/Neve-Logic Digital Film Film Console for motion picture sound mixing.
James Moultrie, Mike Salter and Mark Craig Gerchman, for the mechanical design of the Cooke S4 Range of Fixed Focal Length Lenses for 35mm motion picture photography.
Marlowe A. Pichel, for development of the process for manufacturing Electro-Formed Metal Reflectors.
L. Ron Schmidt, for the concept, design and engineering of the Linear Loop Film Projectors.
Nat Tiffen of Tiffen Manufacturing Corporation, for the production of high-quality, durable, laminated color filters for motion picture photography.
Technical Achievement Awards:
Vivienne Dyer and Chris Woolf, for the design and development of the Rycote Microphone Windshield Modular System.
Leslie Drever, for the design and development of the Light Wave microphone windscreens and isolation mounts from Light Wave Systems.
Richard C. Sehlin, Dr. Mitchell J. Bogdanowicz and Mary L. Schmoeger of the Eastman Kodak Co., respectively for the concept, design and development of the Eastman Lamphouse Modification Filters.
Hoyt H. Yeatman Jr. of Dream Quest Images and John C. Brewer of the Eastman Kodak Company, for the identification and diagnosis leading to the elimination of the "red fringe" artifact in traveling matte composite photography.
NEW LOOK: The official poster for this year's Oscars has been unveiled -- and its so-called "exciting new look for the year 2000" is not as forward-thinking as one might expect.
The millennium-themed poster, designed by filmmaker/graphic artist Arnold Schwartzman for the fourth consecutive year, is based on the 1926 Fritz Lang classic "Metropolis," a flick set in the dystopian future (translation: bad days) of the 2000.
The inspiration for the poster (the encircling numerals, to be exact) can apparently be traced back to a sequence in the silent classic where a robot is brought to life by circles of electricity. No word from Schwartzman if the anti-authoritarian values of the Lang's film also informed his design.
Audiences can judge for themselves when 50,000 posters hit theaters and video retailers this week.