Cloud Atlas

"Cloud Atlas" is nearly three hours in length, but I wasn't bored for a minute. The film alternates between six very different stories quite seamlessly, creating an exhilarating experience. It's part sci-fi, part historical drama, part love story, part comedy. Any number of things could have gone wrong with the film. All the different genres it brings together might have failed to coherently mesh. But they did, and it's something to see.

The film takes us on shipboard in the 1800s, where a young man forms an unlikely bond with a stowaway, a runaway slave. It tells the sensitive, melancholy story of a promising young composer in the 1930s – separated by prejudice and misfortune from his lover, a man named Sixsmith. It also brings us to 1973, where an intrepid reporter finds herself caught up in a web of murder and intrigue. In the present day, the film offers up the comedic tale of a publisher on the run from a gang of thugs. Plunging into the future, it shows a dystopian vision of Seoul, South Korea that is comparable to "Blade Runner" and a primitive post-apocalyptic Hawaii.

Linking these stories together are the simple thematic elements of love, compassion, and a love for liberty. The correspondence between the composer Robert Frobisher and Sixsmith depicts the plain beauty of love as well as any film I have seen, as do tender moments between the central characters of the portion of the film set in the futuristic New Seoul. Even in the blatantly comic segment with Jim Broadbent as the publisher, a deep passion for freedom and human dignity shines through.

All the actors do a great job in their multiple roles. You can care for Tom Hanks one moment as a villager in a future Hawaii, and then revile him in the next scene where he plays a truly despicable doctor. The best performances are given, however, by Doona Bae and Jim Broadbent. I think they surpass all the rest. Bae plays a "fabricant", a kind of clone designed to serve humanity. Her gradual awakening to her own self-worth, to the subjugation of herself and of her people, is beautifully and movingly conveyed. She is heartbreaking in this role. Broadbent is equally excellent as the publisher Cavendish. His expressive face and popping eyes are ideal for comedy – and he's hilarious. But he's more than that. Broadbent infuses the character with a sense of sorrow and weariness at key moments. Cavendish has depth, a history, regrets from his past. Broadbent brings all this out brilliantly without losing his comic touch.

Everything in "Cloud Atlas" comes together to create a film I found thought-provoking and highly entertaining. I don't hesitate to recommend it.

I didn't find it to be a mess at all, and it was certainly the best thing the Wachowskis have ever done. I'm not sure how the directing duties were distributed, so I'll uniformly praise Tom Tykwer as well.

I haven't read the book, so I can't make any comparisons there, but I don't often leave a film adaptation wanting to read the novel afterwards, as I did after seeing this.

Visually stunning, epic in scope, a strong score; the sort of film that you're constantly amazed was ever made and happy it was. Equal parts comedy, romance, thriller, and dystopian speculative fiction, it really is an astounding mix of disparate elements.

The biggest overall failure was definitely some of the make-up effects - trying to turn Doona Bae into a believable red-headed Caucasian woman was simply distracting - but the overall art & sound design was incredible.

If I could turn channels while watching TV and switch between stories and narratives as seamlessly and as deftly as the editing in Cloud Atlas, it would honestly be hard to go back to simply watching one show at a time.

Truly a marvel of multitasking on so many levels. Great stuff.

Extremely ambitious film. The way it combines six different stories from different time periods, and here we have different characters as the actors play different roles, a really ambitious, big and expensive project. I can freely say that this is a unique film, truly special, I can understand those who love the film, but also those who do not like it. Although it lasts a full three hours, I was not bored at any point, which is a great thing. The actors did a great job, visually the film is beautiful, and I even like that it requires increased attention while watching. However, I got the impression that there were too many stories and characters and I couldn't connect everything, that is, not everything made sense to me. A lot of it seemed superfluous to me and how the film wouldn't have lost much if some things had been cut. Perhaps this film falls into a special category, and that is that it needs to be watched multiple times in order to be able to understand everything.

At nearly three hours long AND with a strange and difficult to comprehend plot, I can see exactly why "Cloud Atlas" lost a ton of money. In the States, it only brought in about $27,000,000---yet cost $100,000,000 to make. Much of the high cost is undoubtedly due to the cast--as the film boasts some famous and high-paid actors (including Tom Hanks and Halle Berry). It's a shame really, as the film does have some nice thing to offer...though overall, it was a problematic film to watch.

The film consists of many different stories that all occur many different times in history (both in the past and very distant future). And, instead of being told in sequence, they are interlaced throughout the film. Why and what these plots all have to do with each other is something the audience is left to discover or create within themselves. However, many will get frustrated because for some time, the film doesn't give you a lot of clues at to what it all means.

Despite being confusing and hard to grasp, the film has several things I loved. The stars of the film all play multiple roles and you'll see many of them in many stories. This provides the actors a chance to show off their talents--especially because many times they need to effect accents and/or play the opposite gender!! Yes, most of the main cast members play men AND women. Now this never would have worked if the acting was bad and the makeup was bad--but they really shine in this film. I was blown away by the makeup and thought several of the female characters were women when they weren't--it was that convincing. Additionally, while I was a bit cold about the overall film, I did appreciate how novel the movie was--very, very unique.

So how might I have wanted the movie to be instead? Well, the many stories frustrated me because some of them were really, really compelling--and seeing only bits and pieces of them was annoying. I really wanted to see the whole story of many of the stories and could have seen the filmmakers making four or five films instead of just one. I particularly liked the stories about the replicant as well as the one where Hanks played a thug author (his acting was really nice here).

My advice is that this film demands a viewer who is very, very patient, content with ambiguity and who wants to see a nice experimental film-- warts and all. Worth seeing but odd to say the least.

NOTE: Parents, this film is NOT appropriate for kids. It clearly earns its R rating for some extremely graphic violence and sex. While the sex is sometimes steamy, the violence is what troubles me most for anyone crazy enough to let kids watch this one.

Cloud Atlas is unlike its contemporaries at the multiplex. It tells a big story in an engaging, difficult fashion. It has big names and a big budget. But it also is thematically dense… it wants to tell you something through plot, characters, dialogue and symbols. Cloud Atlas is also thankfully a very enjoyable film, much longer and denser than much of what is available today. "Ambition" defines this film.

In just under 3 hours, six radically different stories are told, and they appeal to a broad audience: a 19th century tale of unlikely brotherhood, the letters of a gay composer to his partner in the 1930's, a San Francisco- set conspiracy in the 70's, A hilarious account of an old publisher's woes. A Blade Runner-esque clone's struggle for freedom, and the survival of a tribe after 'The Fall'. Genre conventions are toppled, as these stories with different tones are juggled in short intervals, leading from comedic highs to shocking drama in minutes.

But as with the characters, these plots are connected thematically, and clever wordplay and visual imagery links the stories, such as the end of a monologue referencing "the gates of Hell" and cutting to a shot of the gates of a building that, for Cavendish at least, is the gates of Hell. Each of the stories has strengths, a few have faults, but together the medley is incredible.

I found that while the earliest two stories began slowly and plainly, they developed very well and provided fantastic drama, especially the 1849 story. The Nuclear thriller was strong, Halle Berry is great and there are some real twists, and I also loved the 'Dirty Harry' and 'China Syndrome' vibes, but comedy bled into it from the 2012 story which diminished the climax. The 2012 story is hilarious, and its first scene is a standout; Tom Hanks is incredible as Dermot Hoggins. Although while the story is interesting, it doesn't fit quite so well thematically- it's almost too light. Listening to the 'Cloud Atlas Sextet' fits with all the stories, but can't resonate with Cavendish's. The future Korea is visually stunning and communicates its themes well, certainly the darkest plot, but the action can get over the top (Yes, I know who directed this) and there are some horrible clichés. But that scene of horrendous dialogue, the weakest in the film, can't derail a great piece. Lastly is the bleak, Hawaii- set post-apocalyptic story. It was my favourite, possibly because I'm a sucker for anything involving apocalypse. But Hanks and Berry are fantastic again, the barbarians are menacing and scary, and the story is cool. It also concludes the film perfectly.

I've only talked about the plot! The actors really steal the show. In the credits, each actor's name is placed with a clip of every one of their characters… everyone in the theatre stopped and stayed. People play characters you had no idea they played. A few highlights: Sturgess' lawyer and the slave Autua, Frobisher, Hugh Grant's sexist nuclear boss, Cavendish and Hanks' Hoggins. Doona Bae as Somni and Hugo Weaving's "Old Georgie" round it out- the latter is truly a demon. Much credit has to go to the makeup, literally making actors disappear into their roles. There is a huge number of transsexual and even race-bridging roles- it's worthy of note that Lana Wachowski was at one point Larry Wachowski. Also deserving of praise, and possibly Oscars is the large scale visual effects that cover hundreds of years and look so believable. Sound quality is top-notch as well, listening to Old Georgie is chilling, as is the vision of Korean diners, and well... the whole future.

But all this plot serves a purpose, and Cloud Atlas intends to tell you things. Freedom is possibly the biggest theme, as well as the idea that our actions affect others greatly throughout time: we're part of a large human network. Really though there's so much to talk about you should just see the film. There are small stumbles every so often, but the structure hides them very well. No one story takes more time than others, no one character takes more time than others, and the structure and pacing drives the film forward briskly. It's a shame this film hasn't been better received commercially, because it's a phenomenal achievement, interesting sci-fi and drama, and as of now, the best film I've seen in 2012. 8.8/10