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.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
SANTA MONICA, Calif., Feb. 9, 2000 -- The infectious bug that has been plaguing TV series of late -- you know, the "I feel that my time with the show is up and I've decided to move on" epidemic -- has claimed another victim.
The latest casualty is none other than "Veronica's Closet's" Kathy Najimy. Trade papers report today that the actress, who plays Olive, Veronica's (Kirstie Alley) trusted sidekick and confidant, will bid farewell to the NBC comedy at the end of this season.
Najimy tells Variety that her decision to leave the show is based purely on personal reasons. With "Veronica's Closet" behind, Najimy reportedly plans to spend more time with her 3-year-old daughter, not to mention more of the same said time on a would-be "feature career."
Of course, the concept of "leaving" "Veronica's Closet" might become a moot point. The unbeloved comedy series, now in its third season, was already benched once this season by NBC for low ratings. It is currently mired in 85th place among all shows and is considered a long shot for fall renewal.
SUPERHERO SAVES FOX: Patrick Warburton, the guy who played Elaine's mechanic beau Dave Puddy on "Seinfeld," will return to the tube in the form of a blue superhero in the Fox comedy pilot "The Tick."
Once a Saturday morning toon on Fox, "The Tick" follows the adventures of a dim-witted crime fighter and his ex-accountant sidekick as they battle bad guys with names such as Chairface Chippendale, El Seed and Breadmaster.
The new live-action half-hour pilot will be directed by the enthusiastic Barry Sonnenfeld ("Wild Wild West").
"I've been a huge fan of 'The Tick' for years," Sonnenfeld told the Hollywood trade papers. "I like it even more than my 6-year-old daughter. It's really up my alley. It doesn't feel like anything on television today."
(Let us guess -- Mr. Sonnenfeld doesn't have cable.)
Warburton, meanwhile, has handled superhero duties prior to "The Tick." Dig this, "Seinfeld" fiends, the actor was the voice of Superman in those American Express commercials starring Jerry Seinfeld.
'LEEZA' IS DEAD: No, not Leeza Gibbons, but her fast-sinking eponymous talk show. Cause of its likely death? Ultra-bad ratings.
Word on the street is that "Leeza" will not live to see a second season in syndication.
The daytime talk show went through various transformation and network shuffles in its (technically) 7-year history. It was first conceived by NBC in 1993 as "John & Leeza," the John, of course, being Gibbons' "Entertainment Tonight" co-hort John Tesh. The show downsized to simply "Leeza" in 1994 when the above-mentioned Tesh bailed. In September, NBC decided to sell the show to non-NBC outlets, thereby banishing the show to syndication.
"LIP" SERVICE: Oscar- and Emmy-winning director-producer James L. Brooks ("Terms of Endearment," "As Good As It Gets," "Jerry Maguire") is set to endow the tube with a live-action romantic comedy series for ABC.
The comedy, still untitled, will be based on a character from the 1988 radio series "Lip Schtick." Joan Cusack, whom Brooks collaborated with on the 1987 flick "Broadcast News," will stake the title role.
Slated for a slot in ABC's 2000-2001 lineup, the show will mark Cusack's prime-time debut and Brook's first TV gig since his stint as the executive producer of the animated series "The Critic" in 1994.
RANDOM BITS: NBC has picked up a half-hour comedy pilot starring David Alan Grier ("In Living Color"). Grier is slated to play a Secret Service man in charge of protecting the first lady. ...
... CBS has greenlit a Jerry Bruckheimer-produced ("Armageddon," "Pearl Harbor") drama pilot for the new fall season. The project is said to be an hour-long drama called "CSI." Starring William Petersen, the series revolves around forensic crime-scene investigators working in Vegas. ...
THE COURT OF POPULAR OPINION: Democracy sometimes flourishes in the most unlikely places, just ask Judge Judy -- one of the many, many finalists chosen by TV viewers of America for the 2nd Annual TV Guide Awards.
More than 1.5 million viewers cast ballots to determine nominees in 22 categories. NBC led all networks in mentions with 20 finalists. Winners will be announced March 5 in a Fox broadcast.
Here's the complete list of the TV Guide Award nominees, as announced today:
Favorite Actor in a New Series David Boreanaz, "Angel" (WB) Billy Campbell, "Once and Again" (ABC) Dan Futterman, "Judging Amy" (CBS) Martin Sheen, "The West Wing" (NBC)
Favorite Actress in a New Series Amy Brenneman, "Judging Amy" (CBS) Tyne Daly, "Judging Amy" (CBS) Mariska Hargitay, "Law & Order: Special Victims Unit" (NBC) Sela Ward, "Once and Again" (ABC)
Favorite Actor in a Comedy Bill Cosby, "Cosby" (CBS) Michael J. Fox, "Spin City" (ABC) David Hyde Pierce, "Frasier" (NBC) Ray Romano, "Everybody Loves Raymond" (CBS)
Favorite Actress in a Comedy Jenna Elfman, "Dharma & Greg" (ABC) Calista Flockhart, "Ally McBeal" (FOX) Lisa Kudrow, "Friends" (NBC) Phylicia Rashad, "Cosby" (CBS)
Favorite Actor in a Drama David Duchovny, "The X-Files" (FOX) David James Elliott, "JAG" (CBS) Dennis Franz, "NYPD Blue" (ABC) Sam Waterston, "Law & Order" (NBC)
Favorite Actress in a Drama Gillian Anderson, "The X-Files" (FOX) Roma Downey, "Touched by an Angel" (CBS) Melina Kanakaredes, "Providence" (NBC) Julianna Margulies, "ER" (NBC)
Favorite New Series "Judging Amy" (CBS) "Law & Order: Special Victims Unit" (NBC) "Once and Again" (ABC) "The West Wing" (NBC)
Favorite Comedy Series "Ally McBeal" (FOX) "Everybody Loves Raymond" (CBS) "Frasier" (NBC) "Friends" (NBC)
Favorite Drama Series "ER" (NBC) "Providence" (NBC) "The Practice" (ABC) "Touched by an Angel" (CBS)
Favorite Soap Opera "All My Children" (ABC) "Days of Our Lives" (NBC) "General Hospital" (ABC) "The Young and the Restless" (CBS)
Favorite Sportscaster Terry Bradshaw (FOX) Bob Costas (NBC) Howie Long (FOX) John Madden (FOX)
Favorite Daytime Talk Show "Judge Judy" (Syndicated) "Live With Regis and Kathie Lee" (Syndicated) "The Oprah Winfrey Show" (Syndicated) "The Rosie O'Donnell Show" (Syndicated)
Favorite Game Show "Hollywood Squares" (Syndicated) "Jeopardy!" (Syndicated) "Wheel of Fortune" (Syndicated) "Who Wants to Be a Millionaire" (ABC)
Favorite News Personality Tom Brokaw (NBC) Katie Couric (NBC) Peter Jennings (ABC) Matt Lauer (NBC)
Favorite Late Night Show "Late Show With David Letterman" (CBS) "Politically Incorrect With Bill Maher" (ABC) "Saturday Night Live" (NBC) "The Tonight Show With Jay Leno" (NBC)
ONLINE NOMINEES Favorite Sci-Fi/Fantasy Show "Buffy the Vampire Slayer" (WB) "Charmed" (WB) "The X-Files" (FOX)
Favorite Reality TV "Biography" (A&E) "Behind the Music" (VH1) "The Real World" (MTV)
Favorite TV Pet Eddie, "Frasier" (NBC) Happy, "7th Heaven" (WB) Salem, "Sabrina, the Teenage Witch" (ABC)
Favorite TV Movie or Miniseries "Annie" (ABC) "Joan of Arc" (NBC) "Tuesdays with Morrie" (ABC)
Favorite News Program "Dateline NBC" (NBC) "Entertainment Tonight" (Syndicated) "20/20" (ABC)
Favorite Music Show "Behind the Music" (VH1) "Total Request Live" (MTV) "Pop-Up Video" (VH1)
Favorite Children's Show "Blue's Clues" (Nickelodeon) "Rugrats" (Nickelodeon) "Sesame Street" (PBS)
AOL KEYWORD: TV GUIDE EXCLUSIVE CATEGORY
Favorite Teen Show "Buffy the Vampire Slayer" (WB) "Dawson's Creek" (WB) "Popular" (WB)