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.
A biker and skateboarder challenge each other at the beginning of the film leaping off the roof of a house down a slide and into an unfinished pool. The biker who ends up crashing through a big bay window turns out to be a girl Haley Graham (Missy Peregrym) who walked out of the World Champion Gymnastics competition a few years back for some mysterious reason. When she's arrested for the vandalism a kind judge (Polly Holliday) sends her to a tough gymnastics camp run by Burt Vickerman (Jeff Bridges). There she faces competition by a former foe Joanne (Vanessa Lengies) and befriends gymnasts Wei-Wei (Nikki SooHoo) and Mina (Maddy Curley). As they start winning competitions as a team Haley discovers that the judging isn't always equitable and she works out a scheme to shine a light on the arbitrary unfairness by essentially telling them to "stick it." The girls in the cast you've probably seen on TV shows if you have anyone in your house who's a pre-teen. Lengies was on Popular Mechanics for Kids; others have been on Nickelodeon shows and some real-life Olympic medalists such as Carly Patterson Nastia Liukin Elfi Schlegel and Bart Conner (Nadia Comaneci's husband) all play themselves in Stick It. Haley's two best friends are guys Frank (Kellan Lutz) and Poot (John Patrick Amedori) who play some pretty goofy sidekicks--and they've got a completely platonic relationship with Haley. Peregrym in the lead role is a surprising stand-out actress who comes across as a more pouty taller Hilary Swank. Her scenes with Bridges as her coach are reminiscent of the tender but sometimes creepy moments between Swank and Clint Eastwood in Million Dollar Baby. Director/writer Jessica Bendinger shows a subtle finesse in her first feature. From the impressively colorful graffiti-style credits to the moments of fast-motion speed-ups and overlapped synchronized events she is able to keep the pace going in what is potentially a bore to anyone who isn't into watching gymnastics. Previously Bendinger scripted the surprising cheerleader hit Bring it On and the recent charming mermaid romance Aquamarine. But Stick It is also quite predictable. It doesn't have the delightful unpredictable twists of Bring it On or the warm fuzzy teen girl feel of Aquamarine. Yet she's able to tell a good inspirational story for a young audience even if it is burdened with bad puns and lines like "I have a Constitutional right to 'bare' arms" and "Who died and made you Nadia?" And of course with the guys there are a few fart jokes too.