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 first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Worried about French spies the Soviets are immediately suspicious of the wife whose life is quickly put in danger. Soon every day is a hard-fought battle for freedom.
Sandrine Bonnaire who is captivating as the wife Marie exceptionally matches Oleg Menshikov's cool detachment as Alexei the doctor. As a young swimmer
smitten with Marie Sergei Bodrov somehow manages to muster sensitivity despite being filled with an overwhelming sense of hatred.
Regis Warnier leads this flock of talent like a brilliant orchestra conductor with judgment that is strong poignant and gentle.
Built from comic book auteur Frank Miller’s (Sin City) rock solid foundations 300 is based on his vision on the 1962 film The 300 Spartans filtered through the same tough-as-nails pulp sensibility that populates most of his comics work. Leaving such leaden wannabe sword-and-sandal epics like Troy and Alexander in the historical dust 300 reworks the real-life legendary tale of the Battle of Thermopylae in which a battalion of 300 elite Spartan soldiers heroically hold the line to protect ancient Greece from the invading Persian hordes. The story focuses on the Spartan King Leonidas (Gerard Butler) who must not only lead his small cadre of troops--each one honored since childhood into a razor-sharp battle-relishing warrior—into a battle they are unlikely to survive but he must also fight for the fate of Greece and its democratic ideals. As the bizarre seemingly endless marauding legions of the tyrant Xerxes (Rodrigo Santoro) descend upon the Hot Gates—a narrow passageway into Greece that Leonidas’ miniscule band can most ably defend—the soldiers take up arms without the usual post-modern anti-war hand-wringing that most war epics indulge in. These soldiers are both bred for battle and fighting a good fight and the film focuses squarely on the highly charged action. Meanwhile in a new plotline created specifically for the movie his equally noble and faithful queen Gorgo (Lena Headey) takes up arms in a more symbolic way as she also tries to keep democracy alive by taking on the political warlords of Sparta to secure relief for her husband’s troops. Butler has become a familiar and welcome on-screen presence in such films as The Phantom of the Opera and Reign of Fire but there has been little on his mainstream movie resume to suggest the kind of bravura fire he brings to the role of Leonidas. This is the stuff of an actor announcing himself to the audience in a major way akin to Daniel Craig’s star-making turn as James Bond. In a big bold performance that could have gone awry in any number of ways Butler plays even the highest pitched notes like a concerto perfectly capturing the king’s bravado bombast cunning compassion and passion each step of the way. Headey is his ideal match imbuing the queen with more steel and nobility in a handful of scenes than most actresses can summon to carry entire films. Fans of Lost and Brazilian cinema will be hard-pressed to even recognize Santoro whose earnest pretty handsomeness is radically transformed into Xerxes’ exotic borderline freakish form personifying a terrifying yet seductive force of corruption and evil that spreads like a cancer across the earth. And don’t forget to add in the most impressive array of rock-hard abs on cinematic display since well ever (think Brad Pitt in Troy times 300). Even bolstered by canny casting choices and their washboard stomachs helmer Zack Snyder (Dawn of the Dead) is the true undisputable star of 300 establishing himself firmly as a director whose work demands to be watched. With a kinetic sensibility that’s akin to Quentin Tarantino and John Woo and using CGI technology to its utmost effects both subtle and dynamic Snyder creates a compelling fully formed world that the audience is eager to explore. Snyder doesn’t literally match Miller’s signature artwork as meticulously as director Robert Rodriguez did with Sin City. Instead Snyder captures Miller’s essence be it raw brutality majestic size and scope the exotic and otherworldly carnal physicality or hideous deformity--even seemingly antiquated and potentially off-putting techniques like the repeated use of slow-motion are put to fresh effect making every blow and cut seem crucial. Yet even in the visual glorification of some of the most bloody and violent conflicts ever put to film Snyder infuses the tale—which ultimately is one big glorious testosterone-soaked fight sequence—with the sense of honor and sacrifice which characterizes the most noble of war efforts. Yes war can be hell but this is a case where some like it hot.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.