Paramount Pictures via Everett Collection
Here's a feat: taking what is likely the oldest, most well-known story in the world, and making a retelling feel inventive. Over the course of its two-and-a-half-hour runtime, Darren Aronofsky's Noah takes many forms — Tolkien-esque fantasy, trippy psychological thriller, merciless dissection of the dark points of abject faith — never feeling too rigidly confined to the parameters of the familiar tale that we've all experienced in the form of bedtime stories, religious education lessons, and vegetable-laden cartoons. As many forms as the parable has taken over the past few thousand years, Aronofsky manages to find a few new takes.
The director's thumbprint is branded boldly on Russell Crowe's Noah, a man who begins his journey as a simple pawn of God and evolves into a dimensional human as tortured as Natalie Portman's ballerina or Jared Leto's smack head. Noah's obsession and crisis: his faith. The peak of the righteous descendant of Seth (that's Adam and Eve's third son — the one who didn't die or bash his brother's head in with a rock), Noah is determined to carry out the heavenly mission imparted upon him via ambiguous, psychedelic visions. God wants him to do something — spoilers: build an ark — and he will do it. No matter what.
No matter what it means to his family, to his lineage, to his fellow man, to the world. He's going to do it. No matter what. The depths to which Aronofsky explores this simple concept — the nature of unmitigated devotion — makes what we all knew as a simplistic A-to-B children's story so gripping. While the throughline is not a far cry from the themes explored in his previous works, the application of his Requiem for a Dream, The Wrestler, and Black Swan ideas in this movie does not feel like a rehashing. Experiencing such modern, humane ideas in biblical epic is, in fact, a thrill-ride.
Paramount Pictures via Everett Collection
Although Aronofsky accesses some highly guttural stuff inside of his title character, he lets whimsy and imagination take hold of the world outside of him. Jumping headfirst into the fantastical, the director lines his magical realm with rock monsters — "Watcher" angels encased in Earth-anchored prisons as punishment for their betrayal of God — and a variety of fauna that range in innovation from your traditional white dove to some kind of horned, scaled dog bastardization.
But the most winning elements of Noah, and easily the most surprising, come when Aronofsky goes cosmic. He jumps beyond the literal to send us coursing through eons to watch the creation of God's universe, matter exploding from oblivion, a line of creatures evolving (in earnest) into one another as the planet progresses to the point at which we meet our tortured seafarer. Aronofsky's imagination, his aptitude as a cinematic magician, peak (not just in terms of the film, but in terms of his career) in these scenes.
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With all this propped against the stark humanity of his story — not just in terms of Crowe's existential spiral, but in character beats like grandfather Methuselah's relationship with the youngsters, in little Ham's playful teasing of his new rock monster pet — Aronofsky manages something we never could have anticipated from Noah. It's scientific, cathartic, humane. Impressively, this age-old tale, here, is new. And beyond that feat, it's a pretty winning spin.
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The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
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 Coen brothers could be adding a third Writers Guild of America Award to their impressive trophy case next month if they can nab best original screenplay for their quirky comedy Burn After Reading. The WGA, who announced their nominees today, presented Joel and Ethan Coen with best adapted screenplay last year for No Country for Old Men and best original screenplay in 1997 for Fargo.
Rounding out the contenders this year are Dustin Lance Black for Milk, Woody Allen for Vicky Cristina Barcelona, Tom McCarthy for The Visitor and Robert Siegel for The Wrestler.
The WGA’s best adapted screenplay noms include Eric Roth for The Curious Case of Benjamin Button with story by Roth and Robin Swicord; Jonathan Nolan and Christopher Nolan for The Dark Knight with story by Christopher Nolan and David S. Goyer; John Patrick Shanley for Doubt, based on the stage play; Peter Morgan for Frost/Nixon, based on his stage play; and Simon Beaufoy for Slumdog Millionaire.
WGA members will meet simultaneously in New York and Los Angeles for the award ceremony on Feb. 7.
Burn After Reading, Written by Joel Coen & Ethan Coen, Focus Features
Milk, Written by Dustin Lance Black, Focus Features
Vicky Cristina Barcelona, Written by Woody Allen, The Weinstein Company
The Visitor, Written by Tom McCarthy, Overture Films
The Wrestler, Written by Robert Siegel, Fox Searchlight Pictures
The Curious Case of Benjamin Button, Screenplay by Eric Roth; Screen Story by Eric Roth and Robin Swicord; Based on the Short Story by F. Scott Fitzgerald, Paramount Pictures and Warner Bros. Pictures
The Dark Knight, Screenplay by Jonathan Nolan and Christopher Nolan; Story by Christopher Nolan & David S. Goyer; Based on Characters Appearing in Comic Books Published by DC Comics; Batman Created by Bob Kane, Warner Bros. Pictures
Doubt, Screenplay by John Patrick Shanley, Based on his Stage Play, Miramax Films
Frost/Nixon, Screenplay by Peter Morgan, Based on his Stage Play, Universal Pictures
Slumdog Millionaire, Screenplay by Simon Beaufoy, Based on the Novel Q and A by Vikas Swarup, Fox Searchlight Pictures
Boogie Man: The Lee Atwater Story, Written by Stefan Forbes and Noland Walker, InterPositive Media
Chicago 10, Written by Brett Morgen, Roadside Attractions
Fuel, Written by Johnny O'Hara, Greenlight Theatrical / Intention Media
Gonzo: The Life and Work of Dr. Hunter S. Thompson, Screenplay by Alex Gibney, From the Words of Hunter S. Thompson, Magnolia Pictures
Waltz with Bashir, Written by Ari Folman, Sony Pictures Classics
Dramatic Series Dexter, Written by Scott Buck, Daniel Cerone, Charles H. Eglee, Adam E. Fierro, Lauren Gussis, Clyde Phillips, Scott Reynolds, Melissa Rosenberg, Tim Schlattmann; Showtime
Friday Night Lights, Written by Bridget Carpenter, Kerry Ehrin, Brent Fletcher, Jason Gavin, Carter Harris, Elizabeth Heldens, David Hudgins, Jason Katims, Patrick Massett, Aaron Rahsaan Thomas, John Zinman; NBC
Lost, Written by Carlton Cuse, Drew Goddard, Adam Horowitz, Christina M. Kim, Edward Kitsis, Damon L. Lindelof, Greggory Nations, Kyle Pennington, Elizabeth Sarnoff, Brian K. Vaughan; ABC
Mad Men, Written by Lisa Albert, Jane Anderson, Rick Cleveland, Kater Gordon, David Isaacs, Andre Jacquemetton, Maria Jacquemetton, Marti Noxon, Robin Veith, Matthew Weiner; AMC
The Wire, Written by Ed Burns, Chris Collins, David Mills, David Simon, William F. Zorzi, Richard Price, Dennis Lehane, George Pelecanos; HBO
30 Rock, Written by Jack Burditt, Kay Cannon, Robert Carlock, Tina Fey, Donald Glover, Andrew Guest, Matt Hubbard, Jon Pollack, John Riggi, Tami Sagher, Ron Weiner; NBC
Entourage, Written by Doug Ellin, Jeremy Miller, Ally Musika, Steve Pink, Rob Weiss; HBO
The Office, Written by Steve Carell, Jennifer Celotta, Greg Daniels, Lee Eisenberg, Anthony Farrell, Brent Forrester, Dan Goor, Charlie Grandy, Mindy Kaling, Ryan Koh, Lester Lewis, Paul Lieberstein, Warren Lieberstein, B.J. Novak, Michael Schur, Aaron Shure, Justin Spitzer, Gene Stupnitsky, Halsted Sullivan; NBC
The Simpsons, Written by J. Stewart Burns, Daniel Chun, Joel H. Cohen, Kevin Curran, John Frink, Tom Gammill, Valentina Garza, Stephanie Gillis, Dan Greaney, Reid Harrison, Ron Hauge, Al Jean, Brian Kelly, Billy Kimball, Rob LaZebnik, Tim Long, Ian Maxtone-Graham, David Mirkin, Bill Odenkirk, Carolyn Omine, Don Payne, Michael Price, Max Pross, Mike Reiss, Mike Scully, Matt Selman, Matt Warburton, Jeff Westbrook, Marc Wilmore, William Wright; Fox
Weeds, Written by Roberto Benabib, Mark A. Burley, Ron Fitzgerald, David Holstein, Rolin Jones, Brendan Kelly, Jenji Kohan, Victoria Morrow, Matthew Salsberg; Showtime
Breaking Bad, Written by Vince Gilligan, Peter Gould, Patty Lin, George Mastras, J Roberts; AMC
Fringe, Written by JJ Abrams, Jason Cahill, Julia Cho, David H. Goodman, Felicia Henderson, Brad Caleb Kane, Alex Kurtzman, Darin Morgan, J.R. Orci, Roberto Orci, Jeff Pinkner, Zack Whedon; Fox
In Treatment, Written by Rodrigo Garcia, Bryan Goluboff, Davey Holmes, William Meritt Johnson, Amy Lippman, Sarah Treem; HBO
Life on Mars, Written by Josh Appelbaum, Andre Nemec, Scott Rosenberg, Becky Hartman Edwards, David Wilcox, Adele Lim, Bryan Oh, Tracy McMillan, Sonny Postiglione, Phil M. Rosenberg, Meredith Averill; ABC
True Blood, Written by Alan Ball, Brian Buckner, Raelle Tucker, Alexander Woo, Nancy Oliver, Chris Offutt; HBO
Episodic Drama - any length - one airing time
“Don’t Ever Change” (House), Written by Doris Egan & Leonard Dick; Fox
“Double Booked” (Burn Notice), Written by Craig O’Neill & Jason Tracey; USA
“Gray Matter” (Breaking Bad), Written by Patty Lin; AMC
“Pilot” (Breaking Bad), Written by Vince Gilligan; AMC
“Pilot” (Eli Stone), Written by Greg Berlanti & Marc Guggenheim; ABC
“There’s Something About Harry” (Dexter), Written by Scott Reynolds; Showtime
Episodic Comedy - any length - one airing time
“Believe in the Stars” (30 Rock), Written by Robert Carlock; NBC
“Cooter” (30 Rock), Written by Tina Fey; NBC
“Crime Aid” (The Office), Written by Charlie Grandy; NBC
“Crush’d” (Ugly Betty), Written by Tracy Poust & Jon Kinnally; ABC
“Succession” (30 Rock), Written by Andrew Guest & John Riggi; NBC
“Vote for This and I Promise to Do Something Crazy at the Emmys” (My Name is Earl), Written by Greg Garcia; NBC
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