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.
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
Carl Allen (Jim Carrey) is a drag -- a recent divorcee in a dead-end job who basically has one word for everything: “No!” Then one day he is dragged to one of those super positive self-help seminars that forces him to say “Yes” to everything or face dire consequences. Thing is it works. Need Viagra? Yes. Bungee jumping? Yes. A quick hummer by his over-sexed septuagenarian neighbor (Fionnula Flanagan)? Uh … yes? Carl’s newfound agreeable self gains him more than he ever imagined. He even finds the love of his life a kooky musician/amateur photographer named Allison (Zooey Deschanel). Of course all this goodwill does have its consequences and Carl learns some valuable lessons. Sound familiar? Hey if Liar Liar worked once why not go back to the comedy well? Jim Carrey is just his best when he’s in a comedy -- even quirky comedies such as Eternal Sunshine of the Spotless Mind. He is so at home in the shoes of this kind of loveable loser who gets to live life in broad strokes. He knows how to play for big laughs without going overboard. So from now on Jim just say NO to thrillers like The Number 23. In the top notch supporting cast Sasha Alexander is a deadpan standout as the Persian wife he orders online and veteran Terence Stamp is a hoot as the self-help guru who gets Carrey into his predicament in the first place. Also very amusing are his best buddies played by Bradley Cooper and a hilarious Danny Masterson. As his bonkers New Zealand-esque boss Flight of the Concord’s Rhys Darby is a riot as Carl's boss. Deschanel is kind of the “straight man” here but she’s handles it well if not memorably. Peyton Reed is a fairly reliable comedy director with mostly hits (Bring It On The Break-Up). He knows Yes Man exists as a vehicle for the Jim Carrey brand of comedy and lets Carrey hog the spotlight. The movie lives or dies on what Carrey can deliver and on that scale Yes Man is a hit. There are some bits that fall flat and might have been cut but for all its broad humor Reed manages to keep it grounded and in simple scenes between Carrey and Deschanel the movie even borders on sweet. In a season of dark drama on screen -- and off -- the antidote could well be this dumb but fun time killer. So is a little comic relief worth the $10 in the economic downturn? We say YES!
Based on the life of New York City police detective Vincent LaMarca City by the Sea vacillates between a true-crime mystery and a family drama. As Vincent (De Niro) investigates the murder of a Long Beach N.Y. drug dealer it becomes painfully clear that his estranged son junkie Joey (James Franco) known on the street as Joey Nova is the prime suspect. Vincent is of course taken off the case but when his partner is killed while pursuing Joey the search becomes the Long Beach police department's top priority--and saving his son from a police department eager for cop-killer blood becomes Vincent's. The fact that Vincent discovers that he has a grandson Angelo doesn't help the situation especially when Joey's supposedly clean ex-junkie girlfriend (Eliza Dushku) leaves the kid at Vincent's apartment when she goes to buy cigarettes and fails to return. Vincent who's always defined himself against his criminal father finds himself forced to decide whether he's a cop or a father and grandfather first a quandary that naturally leads to some pretty compelling if slightly melodramatic scenes for De Niro. Interestingly despite the somber subject matter and the dramatic tone the film still manages a few lighthearted moments which really save it from the pitfalls of its own seriousness.
Sometimes a great cast can make even a mediocre film good and that's what happens in City by the Sea. Even though the dialogue they're given to work with isn't always completely natural--in fact sometimes it's downright contrived--the cast still manages to create a compelling final product. You just can't go wrong with De Niro as a hardened streetwise emotionally distant cop and he makes everyone opposite him look great especially relative newcomer Franco (whose performance as a young James Dean in TNT's James Dean earned him some critical kudos of his own). The young actor swaggers onto the scene like a very young Bob Dylan a hollow-body vintage guitar slung across his back. Of course he's selling it for drugs not heading for a gig. Patti LuPone really sinks her teeth--and catty claws--into her role as LaMarca's bitter ex-wife creating some of the film's most dynamic scenes while Frances McDormand lends her subtly expressive style to the most emotional moments as De Niro's sometime girlfriend Michelle.
Director Michael Caton-Jones delves into the dark side of his imagination with images of a desolate Long Beach: graffiti-covered walls crumbling casinos and a rickety boardwalk--all the detritus of a once-thriving tourist destination. In this grim setting Joey wanders virtually empty streets and beaches where as a child he played happily; meanwhile in Manhattan Vincent is wandering his streets in much the same way. It's an interesting device Caton-Jones uses to show the similarities between the two men and it's as effective at establishing their relationship as the relatively few scenes they have together. At moments like this when the film is making its emotional impact visually it shines; unfortunately City by the Sea relies a little too often on its average dialogue and does a little too much telling and not enough showing.