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.
Extreme Ops should be a James Bond movie. Then at least we'd expect the ridiculous plot--plus we'd see some sex. Alas the film takes itself too seriously and those wacky opportunities are simply missed. As it stands a crew of commercial filmmakers--director Ian (Rufus Sewell) producer Jeffrey (Rupert Graves) coordinator Mark (Heino Ferch) and cameraman Will (Devon Sawa)--known for going that extra mile to get extreme action shots are hired to shoot a commercial for a Japanese digital video camera. Their idea is to take three skiers to the Austrian Karawanken Range bordering Yugoslavia and have them outrun an avalanche. No sweat. Up for the task are Chloe (Bridgette Wilson-Sampras) a downhill gold medal winner; wild-child snowboarder Kittie (Jana Pallaske); and all-around adrenaline junkie Silo (Joe Absolom). They make it to Austria and shack up in an unfinished resort nestled in the mountains (you were expecting a warm chalet?) where a band of Serbian terrorists led by war criminal Pavle (Klaus Lowitsch) has also happened to make its base camp. Seems this group of not-so-happy campers has a master plan involving world destruction which the hapless filmmakers uncover. Darn the luck. It's going to take some fancy-schmancy stunts to foil these bad guys--but our motley crew of extremists is up to the task.
This is one of those times you wonder what initially convinced good actors such as Rufus Sewell (A Knight's Tale) and Rupert Graves (The Madness of King George) to make this film. Maybe they thought they could improve it along the way. Or maybe the extreme stunts tempted them to have a little fun in the Austrian Alps. Regardless only Sewell rises above the mire every once in a while; the rest of the cast wallows in it. Newcomers Pallaske and Absolom have very limited range and do better when they simply stand around getting snow in their hair while Sawa (Slackers) seems sorely out of place. Wilson-Sampras has some potential as an actress (her performance breaking up with Matthew McConaughey on their wedding day in The Wedding Planner comes to mind) but an awful script and a bunch of second-rate actors bring her down. The only exceptions are her scenes with Sewell. As for the villains it seems Hollywood has a new bad guy of choice. It used to be the Russians but these Serbs are mighty vicious and suitably over the top. It's their job to make the heroes look good and they do it adequately.
Putting aside a weak plot and bad acting the point to this movie would be the opportunity to see some amazing stunts right? Crazy snowboarders outrunning avalanches attack dogs and evil terrorists all while leaping off snow-capped cliffs and outmaneuvering other perilous terrain. This can make a movie worthwhile if done correctly but sadly that is not the case with Extreme Ops. Director Christian Duguay (The Art of War) manages to mess up even this simple task. The first few shots of the skiers shooting down the hill with the snow tumbling after them are pretty spectacular yet after about the eighth time you see this same shot it starts to get a little boring. On top of that there are some extraordinarily bad blue-screen moments when it's clear the actors are standing in front of a fake background. In this CGI age audiences have high expectations and are very unforgiving of shoddy filmmaking. The worst of the movie's offenses however happens in the editing room. With all the good guys bad guys skiing helicopters and running through snow you're never quite sure who's who or what's what.