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.
Anyone who’s been to the zoo has considered the possibility that once all the visitors and the zookeepers go home the animals come out from their enclosures and talk about the day. And so while Frank Coraci's Zookeeper is kind enough to show us what that fantasy looks like it isn’t kind enough to show us much else.
In Zookeeper Kevin James plays Griffin Keyes who’s so in love with his girlfriend Stephanie (played by Leslie Bibb) that he doesn’t realize she’s terrible until he proposes to her and she says no because she doesn't like his job. After the breakup Griffin focuses on his work and is totally aware of how he wishes he had someone in his life to care for him the way he cares for the wildlife at the Franklin Park Zoo. When the animals (being the astute creatures that they are) notice how badly their favorite zookeeper has been feeling since the demise of his relationship they decide to break their vow of silence to show their appreciation for him by sharing all the tips and tricks that have helped them all get mates. The imparting of this knowledge paves the way for Kevin James to regurgitate onto the audience all the talent for physical comedy he’s accumulated over the course of his acting career and it means Griffin spends the majority of the movie rubbing his back against a tree like a bear or peeing on a tree like a wolf because he thinks his ex-girlfriend will take him back if he asserted his dominance more.
One of the more skillful things the film does is give each of the animals their own personalities in a relatively short period of time and credit should be given to the actors who voiced them. Sylvester Stallone’s Joe the Lion was the leader of the group and his frequent lover’s quarrels with Janet the Lioness (voiced by Cher) will particularly resonate with parents. Adam Sandler’s Donald the monkey delivered some nice one-liners and unapologetically bragged about his opposable thumbs. Judd Apatow Maya Rudolph Jon Favreau and Faizon Love also provided worthy comedic contributions to the animal group but it was Nick Nolte’s role of Bernie the gorilla that particularly stood out. After an incident with an abusive zookeeper (strangely played by Donny Wahlberg) where Bernie gained the reputation of being dangerous he was extricated from his beautiful and open enclosure and dropped down into a cement pit to be punished over a misunderstanding. But even though Bernie was out of site and otherwise inaccessible to the zoo’s patrons Griffin didn’t forget about him and worked arduously to convince him that not every human is cruel by putting a yellow polo shirt on him and taking him to T.G.I. Fridays. Though completely random and almost irrelevant the sentiment was very close to nice.
But the movie's biggest problem isn’t the fact that its animals talk or that Griffin listens to them without realizing he’s trying to win back a human by acting like a wombat. It’s that because Griffin's first love Stephanie was a bad person filmmakers were burdened with concocting a new love figure for him (because like all protagonists he's supposed to rediscover his self-worth and self-respect after it has been misplaced). The director acknowledged this challenge by manufacturing Rosario Dawson’s character Kate the eagle expert/veterinarian. Kate’s close proximity to Griffin at the zoo and possession of a slinky black dress meant she became his accomplice when he tried to use the skills the animals taught him to win Stephanie back at his brother's wedding. Eventually it becomes clear that the audience is supposed to root for a union between Griffin and Kate but it's an almost impossible task because Griffin barely has any screen time with Kate and because of all the talking animals going on there is no room for a relationship when the film is already busting at the seams.
Theoretically Zookeeper sounds decent. And for the most part the scenes where the animals are coaxing Griffin are actually enjoyable. But the framework of the film makes the plot unnecessarily complicated…which means not only do audience members not get enough of what they wanted but they also get a whole bunch of other things they didn’t sign up for.
Teri Polo, who co-stars with John Travolta in Domestic Disturbance, to In Style about her greatest vacation.
"[It was] the island of Kauai, where my husband and I went for our first anniversary.
"We got really fat because all we did was eat lobster and drink frou-frou drinks with umbrellas in them by the water."