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.
When Platinum Dunes the production house created by Michael Bay Andrew Form and Brad Fuller first came into being it took on the father of modern horror films The Texas Chainsaw Massacre. It's safe to say everyone expected it to be a total failure given who was involved; when it turned out that it actually wasn't too bad of a film fans were justifiably surprised. A few mid-level misfires later Platinum Dunes raised their aim at iconic horror franchises even higher bringing back TCM's director Marcus Nispel to tackle Jason Voorhees. Again people weren't expecting much so it was another pleasant surprise that 2009's Friday the 13th turned out to be a thoroughly entertaining respectful recombination of the cabin-in-the-woods slasher. From there the studio didn't even bother to go back to lesser franchises they notched their crosshairs as high as they could go; Freddy Krueger.
Fast forward twelve months. The main thing anyone will want to know about A Nightmare on Elm Street is whether it is at the very least a worthy remake of the original Wes Craven film about a slain pedophile who resurrects in the dream world to kill teenagers in their sleep. The short answer is a resounding yes. Samuel Bayer's film is the best remake in the Platinum Dunes stable; Jackie Earle Haley is an excellent successor to the original's Robert Englund; and Freddy Krueger isn't just scary again he's the most disturbing he's ever been. The long answer is of course a little more complicated and requires plenty of qualifiers.
Yes A Nightmare on Elm Street is the best remake Platinum Dunes has produced but the reason behind that is also the film's handicap. For the most part Wesley Strick and Eric Heisserer's screenplay hems incredibly close to Craven's original. There comes a point in the film however where staying faithful to the source material becomes a bit too problematic. Mainstream audiences particularly those who didn't grow up with Krueger will be unaffected but horror fans may soon grow bored with the lack of individuality in the scripting department. And then just as the film threatens to overthrow its predecessor by changing (for the better) Krueger's origin story it backs off once again sacrificing innovation for tradition.
It would appear to be a contradiction but that adherence to tradition in turn becomes the remakes' greatest strength. Bayer and company dive even deeper into the Elm Street mythos giving the audience in the process two crucial looks at what Krueger was like before the parents of the molested preschoolers delivered their gas-can brand of mob justice. Haley's astounding amount of talent makes profound use of every second of these brief glimpses into a pre-burn Freddy. Then once the kind soft-spoken kid-loving mask of the pedophile-in-hiding has been literally burned off the true monster underneath emerges. This contrast between the Freddy the kids knew and the Freddy they now know as teens makes for some legitimately bothersome bedroom nightmares toward the film's end.
As for the teens they too are marked improvements this time around. Johnny Depp may have emerged from the '84 classic but he was about it. Rooney Mara Kyle Gallner Thomas Dekker and Katie Cassidy all do an admirable job with the at times thin characterizations they're given. It's a testament to the talent of each of them that they overcome the limitations of the script to warrant some investment in their fight against their dream killer. And as for that dream killer...Haley is the perfect replacement for Englund. His take on the voice may be indistinguishable from his work as Rorschach in Zack Snyder's Watchmen adaptation but considering it fits Haley's commanding presence as Krueger as snugly as the iconic bladed glove whose newly stylized dragging across the pipes in Freddy's dream boiler room sounds skincrawlingly likely a cross between nails on a chalk board and an arc welder that's not too much of a complaint.
A little more worthy of complaint are a few failed attempts to reinact iconic moments from the original most notably Freddy's emergence from the wallpaper above Nancy's bed. It's inexcusable that a special effect in the year 2010 should look worse than the effect from the 1984 film it's imitating but CGI the perpetual enemy of the horror fan once again rears its ugly head. That embarrassing failure aside this film could not look better. Bayer did a tremendous job of altering the reality of the dream world with subtle visual distortions (a lot of straight lines are skewed obtusely outward while the edges of the frame curve oh so slightly inward) when necessary. And the effects work on Krueger's face is appropriately gruesome in all the right spots. One can even forgive the terrible wallpaper CGI scene in exchange for inspired touches like a partial singed cheek that flaps slightly when he exhales or moves too quickly.
While this rebirth of Krueger no doubt boasts a number of glorious kills (the bold opener sets the gore precedent quite nicely) its biggest strength in the fear department is this new far more disturbing structuring of the character as a joyless disgusting psychopath. Craven's original used Krueger's actions mainly as the logistical justification for why he would be killing these teenagers whereas Bayer's handling of the material leverages the origin story beyond just physical torture and into mentally disturbing psychosexual territory. The original franchise gradually acclimated to the idea of Krueger as a sexual threat but this iteration makes no qualms about it. It's not just the burns to Krueger's face that have been updated for realism; his motivations have as well — and that makes this new Nightmare on Elm Street scary as hell.