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.
It is my estimation that there are very few people on the fence about seeing a movie about the universe of college a capella. The people who want to see this movie would all but kill to do so — on the other hand there are those who’d rather endure a three-hour documentary on the referendum to criminalize the distribution of lead-based paints. I was hardly in the latter category upon approaching Pitch Perfect. I wholeheartedly enjoyed the seasonal performances of my college’s championship-winning a capella group the Binghamton Crosbys (namedrop). I would happily welcome an influx of musical films to mainstream Hollywood. I really really liked the first season of Glee. I say all this to illustrate how open to the idea of Pitch Perfect I was and how much I really wanted to like the movie. Unfortunately as I would reluctantly acknowledge not long into the picture Pitch Perfect was missing many of its marks. Not all but many.
The movie touts itself not as Glee: The Movie as many on the opposing side are likely to deem it but as something far more self-aware. There are a handful of jokes about the rigid containment of the a capella world’s celebrity with remarks that all the authentically cool kids at the central Barden University exist beyond the confines of the a capella community. Unfortunately while it strives to adopt a self-deprecating attitude toward the tropes of the genre it draws the line at the rejection of the more hackneyed elements of its romantic and interpersonal storylines.
While the story is based in the always-worth-revisiting “be yourself” underdog theme it doesn’t quite execute this idea with full force. The highly talented Anna Kendrick plays Beca a “rebellious” aspiring deejay enticed into the nearly defunct Barden Bellas by well-meaning vet Chloe (Brittany Snow) due to her natural skill for singing but disliked by queen bee Aubrey (Anna Camp) for being just a little too different. But in all honesty she’s hardly different enough to evoke our sympathies. In fact the only outstanding characteristics Beca seems to have is that she’s pretty self-entitled and always a little bit miffed. Still she’s the apple of everyone's eye including the guileless flimsy male lead Jesse (Skylar Astin) who himself is a cherished new member of Barden's rival a capella group the all-male Treblemakers — led by the wickedly obnoxious top dog Bumper (Adam DeVine). Beca and Jesse are meant to found the real emotional crust of the movie; he teaches her about the greats of cinematic soundtracks and about not pushing people away and she... well she doesn't really teach him about anything. Their relationship lacks the real substance that would effectively carry the film based primarily on the fact that they're both cute and microscopically off-center.
And then there are the supporting characters — the Bellas' team of misfits whom we're meant to love. Rebel Wilson leads this pack as the kooky brazen self-decreed Fat Amy. Beside her the sexually-charged Stacie (Alexis Knapp) the quiet psychopath Lilly (Hana Mae Lee) and Cynthia Rose (Ester Dean) whose alluded homosexuality is quite unfortunately the punchline of her character among a few faceless sub-supporting characters. And while the theme does don a sheath of the classic “be yourself” mindset it seems to be more interested in poking fun of these girls and their quirks than it is in celebrating them.
But they do band together they do develop a camaraderie and they do come to compromise their differences in order to better one another and the team. And then comes the final musical number.
See for all of the film's faults there is something it knows how to do: it puts on one hell of a show. As much of a cynical nitpicker as you might be once the Bellas' final performance on the competition mainstage takes way you're bound to enjoy it. Showcasing the individual vocal talents of each of the (primary) singers sewn together in an expertly crafted compilation piece viewers are likely to get a chill or two. This is where Pitch Perfect hits: in its sheer unembarrassed celebration of a capella of music in general and of the girls onscreen. The movie makes the mistake of trying to have it both ways. When it goes for self-deprecation it makes it look all the more unaware of its inherent flaws in plot and character. But in being what plenty of people would be just fine with — an a capella movie that isn't ashamed of loving a capella any more than its over-the-top characters are — it succeeds. Unfortunately this sentiment feels limited to the final performance of the film. But to its credit it's a performance good enough to make up for a whole lot of the stuff that leads up to it.
1. Kick-Ass 2 Can Only Be a Good Thing.
As a longtime proponent of Matthew Vaughn (well, since 2004) I'm happy to hear we're going to get a sequel. I would guess that Nic Cage will have less involvement, which I'm disheartened to say is a good thing at this point in his career, though ideally they'd find some method for writing off Mintz-Plasse too. I liked him in Superbad and Role Models but the material seemed slightly out of his wheelhouse in Kick-Ass. The film is currently ranked 186th all time on IMDB, and it very nearly cracked $100m at the worldwide box office despite being initially left for dead.
For my money, Hit-Girl is the most innovative character to hit the screen this year. While one could, if one were so inclined, point out a few obvious parallels between the mayhemic Japanese film Battle Royale and Kick-Ass my counterargument would be that Hit Girl's reign of destruction occurs in a largely realistic world. Batle Royale definitely skews more Running Man. Second place on the iconic characters of 2010? Probably Gru from Despicable Me. Hard not to love that guy.
2. Breaking Dawn Gets Graphic?
Word has come down from screenwriter Melissa Rosenberg that they might attempt to show the infamous "birthing scene." This would be an unequivocal mistake. For those not familiar with the Twilight franchise, Breaking Dawn is the madcap finale to the series wherein Bella (spoiler alert) gives birth to a half human, half vampire baby who proceeds to break Bella’s ribs, causing massive internal and external bleeding. Clearly, it's quite the scene. But Twilight has managed to keep the gore down to a minimum, probably to satisfy the core fanbase.
The scene, even in the books, is slightly out of place. Stephenie was clearly feeling her writing oats after the success of the first books and wanted to try a small tonal shift which indicated how much Bella was willing to sacrifice for Edward. But things quickly shift back to non-violent methods, and by the end of the books some fans were even complaining Meyers went too pacifist. What's this all add up to? Well, it would be incredibly easy to sucker in an audience emotionally with this scene, and Rosenberg's Dexter work (and heck, even her Party of Five work) has left her with a deft and capable hand to do just that. But it's the wrong route, especially given the overall story arc and themes presented. This isn't vamp horror, it's a modern romance, and the truly gnarly bloodletting is best left on the cutting room floor.
3. The Meta Effect.
Our friend Adam Quigley at /Film has an interesting article on the overall self-awareness of cinema these days. Citing all levels of cinema, from genius works like Hot Fuzz and Inglourious Basterds to clear parody a la Vampires Suck, Quigley has managed to form a cogent argument on the end of true creativity in cinema. Simply put, if everything references everything else than nothing can be truly new.
So far as that goes, it's an interesting observation, and I'd surmise much of it has to do with the massive communications we're all exposed to on a daily basis. New ideas don't creep out because you're exposed too many old ideas every single day. There are 35 ways for people to reach you, and you can't create in a vacuum anymore. The stoic and hermit creator is gone, replaced by the overly connected and self-referential schmoozer. However, I wonder if we're missing a more elemental point here, referred to by Joseph Campbell's Hero With a 1000 Faces work. Essentially the theory holds that disparate cultures developed eerily similar mythologies. One could make the argument that there are only so many stories to tell, and the current vibe of "been there, done that" is more an indicator of the wealth of stories we have access too ... and not the overall creative level of the medium itself.
4. Liking The Look of Easy A!
I've seen the Easy A trailer half a dozen times, with half a dozen different people, and the reaction has been uniformly positive. When is the last great high school comedy we had? Okay, I'll cede Superbad but that was Apatow raunchiness, not Election or Mean Girls subversion. And Emma Stone feels ready for a big move, as we're in need of a new Julia Roberts. Could this be a rare September classic? Here's hoping.
On that note, I hope you have a weekend devoid of labor.
Check out last week's Movie Musings here
Laremy is the lead critic and senior producer for a website named Film.com. He's also available on Twitter.
WHAT’S IT ABOUT?
G.I. Joe is a top-secret multi-national special forces unit comprised of highly-trained physically attractive military personnel from around the world. Equipped with the latest in superawesome vehicles and weaponry and guided by the tough but fair General Hawk they take on the baddest of the bad guys the kind of terrorists that scoff at conventional organizations. As the General himself so aptly states “When all else fails we don’t.”
That credo is put to the test however when a shadowy terrorist group armed with even awesomer vehicles and weaponry like crazy-ass laser guns and computer-guided zombie troopers infiltrates the Joes’ compound and makes off with a cache of four WMDs each of which is capable of leveling an entire city. Do the men and women of G.I. Joe have what it takes to defeat these menacing new adversaries before they mount their next devastating attack?
WHO’S IN IT?
It takes an elite group of actors to play an elite group of soldiers and the cast of G.I. Joe: The Rise of Cobra is stocked with an abundance of Hollywood’s most talented performers all adorned in various types of leather fetish apparel. White Chicks star Marlon Wayans plays Ripcord a flight specialist who can pilot any type of airplane even enemy crafts that respond only to voice commands uttered in Celtic. Channing Tatum star of Step Up and Step Up 2: The Streets plays his best pal Duke a badass infantryman who knows no fear. Preeminent ginger chick Rachel Nichols showcases her fiery crimson locks as Scarlett a shrewd intel expert whose stoic exterior hides a growing attraction to Ripcord. Barking out the orders as General Hawk is Enemy Mine star Dennis Quaid.
On the side of the bad guys is the Baroness played by Factory Girl star Sienna Miller in a push-up bra dirty librarian glasses and a raven-colored dye job. She’s the point woman for McMullen a shady Scottish weapons magnate played by Christopher Eccleston. But McMullen is no ordinary shady Scottish weapons magnate; he’s covertly amassed a huge terrorist empire headquartered beneath the polar ice caps. It’s there that “The Doctor ” a horribly disfigured mad scientist played by (500) Days of Summer star Joseph Gordon-Levitt concocts all sorts of diabolical new weapons and gadgets to unleash on the innocent.
Oh and there are ninjas too. Good guy Snake Eyes played by Ray Park wears sleek black body armor while the evil Storm Shadow played by Byung-hun Lee runs around in a updated version of Elvis Presley’s classic all-white jumpsuit.
Loaded with scene after scene of high-tech action-movie eye candy G.I. Joe: The Rise of Cobra assaults the senses with such a relentless barrage of over-the-top stunts eye-popping visual effects and stylized fight sequences that only the most coldly cynical of viewers will be able to resist submitting to its visceral charms.
As with most sugary indulgences the sweet dizzying high is followed almost immediately by a painful crash. Feelings of guilt and shame start to simmer as you kick yourself for yielding to such soulless gluttony. The next morning you awake with a throbbing headache and a heart filled with regret. The following day a doctor informs you that you have adult-onset diabetes. So in a nutshell G.I. Joe: The Rise of Cobra is the cinematic equivalent of adult-onset diabetes.
The scene where they have the big fight with all the advanced weapons and a whole bunch of stuff blows up. Oh wait that’s EVERY scene.
For the bulk of his performance Joseph Gordon-Levitt’s face is obscured by a bulky breathing apparatus and his voice is altered to sound like the computerized movie trailer's narrator. Which makes one wonder why they bothered to hire a name actor for the role in the first place.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.