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.
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.
WHAT IT’S ABOUT?
In the late '50s a group of elementary students put futuristic drawings in a time capsule that is then buried on school grounds. One overly obsessed kid Lucinda goes her own way by writing hundreds of mysterious seemingly non-sensical numbers on her entry. Fifty years later it’s dug up and comes into the possession of Caleb the young son of John Koestler a recent widower and astro-physics professor who becomes obsessed with the papers Caleb has brought home from class. He soon discovers the random digits are actually not-so-thinly disguised dates (including 91101 of course) for “future” disasters and there are clearly three of those dates yet to come. Although nobody believes his ramblings about this code for impending doom a nearby plane crash proves he is on to something so ominous the fate of the world could be in jeopardy. With all hell about to break loose the prof takes matters into his own hands.
WHO’S IN IT?
Just a couple of years ago Nicolas Cage starred in Next as a magician who could see into the future and had to prevent a nuclear attack. Now he’s at it again as an MIT professor who also has clues to future catastrophes and also is out to prevent the inevitable. And of course in the National Treasure films he latched on to maps that had contained similarly dark deeply held secrets. Nic clearly likes “knowing” stuff before the rest of us and he’s quite believable even if some of the circumstances in his latest sci-fi adventure are really out there -- literally. Cage somehow makes you buy into this stuff which is key to the ultimate success of the flick. As the key kids Chandler Canterbury as Caleb and Lara Robinson as Lucinda (and later Abby Lucinda’s granddaughter) are properly eerie and haunted-looking. Rose Byrne is also along for the ride as Lucinda’s grown daughter who is able to provide goosebump-inducing information that the numbers alone can’t. There’s also some dead-on creepy emoting from D.G. Maloney as a quietly foreboding stranger who seems to be following Caleb.
Unlike some recent movies of this type with nothing on the agenda but pure mayhem “Knowing” delves into the bigger issues of why we are all here providing something other than just big explosions to talk about on the way home from the multiplex. Director Alex Proyas (I Robot Dark City The Crow) certainly knows how to pull off complex action set-pieces but he and his screenwriters also seem to be genuinely interested in exploring the meaning behind the madness.
Some of the more pedantic dialogue Cage is given can be groan-inducing but since he plays John as a total believer we can forgive it. Also the film falls victim to a final act that veers into typical disaster movie territory and isn’t as compelling as the first two thirds which try to keep the premise at least marginally credible. At two hours it probably could have been tightened anyway.
The rain-soaked plane crash sequence with its gritty hand-held photography is riveting to watch and one of the most frightening depictions of a jetliner disaster put on film yet.
GO OUT AND GET POPCORN WHEN ...
If you are really squeamish it might be worth "knowing" that you should take breaks in the big disaster sequences as the CGI effects can get pretty violent and graphic particularly for a PG-13 movie.
Even though the 61st edition of the Cannes Film Festival officially ends this weekend--and most of the buyers and sellers have left town (a lot with nothing to show for it)--the stars (not to mention the sun which has finally come out after too many gloomy days) can still be found.
Robert De Niro, star of Barry Levinson’s closing night Hollywood satire What Just Happened?, is arriving today and will be put to work at Sunday’s closing ceremony by presenting the biggie--the prestigious Palme d’Or--for best of fest as voted on by a jury led by Sean Penn and including actress Natalie Portman and director Alfonso Cuaron, among others.
What Just Happened? is one of many films still for sale as it went home from January’s Sundance Fest without one. It’s been reported Levinson has re-edited the film for it’s Cannes unveiling Sunday, so critics--thinking they may have seen it already in Sundance--will have to go again to see how he has fixed the poorly reviewed film about the film industry.
A walk through the market finds several others in the same boat: some still without (at least announced ) U.S. distribution deals including My Life In Ruins, a reunion between Nia Vardalos and her My Big Fat Greek Wedding producers Tom Hanks and Gary Goetzman. They have served up a Love Boat-like story in which Vardalos plays a tour guide in Greece, trying to balance romance and a group of looney supporting players. Sound familiar? They are clearly trying to bottle the Greek Wedding box office magic a second time, but no takers as of yet
As for the aforementioned Jury, some of them--like Portman and actress Alexandra Maria Lara--turned up Thursday evening a few miles out of town at Le Moulins Des Mougins restaurant for the glamorous hot ticket event of Cannes: Cinema Against AIDS, which Weinstein Co. head Harvey Weinstein started 14 years ago at Cannes to raise money to fight AIDS. Last year, they made $7.5 million, a record which they hope to at least match this year despite tougher economic times.
Harvey used the occasion to lobby the jury members present to vote for Che, the nearly four and a half hour movie(s) he saw the night before and labeled “a masterpiece, the most ambitious project I have seen in 25 years of coming to Cannes”. Sounds like he’s in the hunt to buy it.
As usual, Sharon Stone and Madonna ran the celebrity auction which drew $350,000 for a private two-song Madonna concert in the fall, and $500,000 for a Porsche Stone and her brother restored among many other big ticket items. Stone also jumped into the audience to try and make out with Sean P. Combs if he would bid $320,000 for a personal Julian Schnabel portrait painting. He didn’t budge.
Mary J. Blige performed a brilliant three-song set that had the very well-heeled tony crowd dancing like teenagers. As Harvey told us at the pre-dinner cocktail party, this hot ticket event (Chair Kenneth Cole said they could have sold it out three times over) is so successful year after year because of one word.