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.
The premise to Old School sounds a bit cringe-worthy when you first hear it--visions of sexist frat house humor wild parties buxom babes and beer bongs dance through your head. OK maybe there's a little of that going on in Old School but the heart of the film is surprisingly more centered than your average balls-out comedy. A trio of twentysomething friends have found themselves at a crossroads in their lives. Mitch (Luke Wilson) a promising real estate lawyer unfortunately catches his girlfriend (Juliette Lewis) in a compromising position. Frank (Will Ferrell) a lovable doof marries the sweet Marissa (Perrey Reeves) before realizing he made a big mistake and Beanie (Vince Vaughn) the owner of a successful chain of stereo stores refuses to believe he is the only true family man of the three. When Mitch rents a house near their old alma mater Beanie sees it as a chance to recapture some of that fun-filled college exuberance and turns the house into a fraternity which accepts not just students but any guys out there who want to escape adulthood's travails. The film's antagonist comes in the form of an uptight university dean Pritchard (Jeremy Piven) who bears an old grudge against our intrepid trio and does everything he can to shut the house down. But true brotherhood prevails.
Old School works far better than it should thanks to the chemistry of the three leads. Each has his own particular brand of comedy and the combination keeps you rolling in the aisles. Providing physical comedy Ferrell's Frank a goofy college wild man tamed by matrimony is wonderfully outrageous (but someone should tell him to keep his clothes on). Ferrell also shows a dramatic flair especially when dealing with his troubled marriage. Who would have thought this Saturday Night Live alum could act? Vaughn shows his infinite skill at zingin' out quick-witted one-liners (as he does so well in Swingers). Yet his smarmy Beanie also hints that he loves his life as a stable dad more than he cares to admit. Then there's the likable straight man Mitch a character the easygoing Wilson has perfected to a tee ever since his debut in Bottle Rocket opposite wacky brother Owen. Piven who usually plays wild men in films such as PCU and Very Bad Things gets to try on a different hat as Pritchard the nerd who grew up to be the dean of the school--and it looks like he had fun.
Writer/director Todd Phillips obviously enjoyed his college years. His first studio-released film the 2000 Road Trip offered a raucous yet refreshing look at college life that didn't necessarily go for the gross-out humor at every turn (although some turns were certainly made especially given star Tom Green). With Old School Phillips has matured--a little. Thankfully the film doesn't go for the joke for the joke's sake but remains rooted in how these three men are dealing with the pressures of adult responsibilities coming up with their somewhat misguided remedy to those pressures. But it's still a comedy about aging frat boys. You know going in there's going to be a wild party or two some contemptible drunken behavior perhaps even a hazing scene where new recruits have cinder blocks tied to their nether regions. It happens. Phillips also feels the need to incorporate a clichéd romantic twist around Mitch and a girl he had a crush on in high school. A sweet gesture but not nearly as entertaining as watching three grown men slosh around in K-Y jelly in a female wrestling match.