Cloud Atlas

Kudos to all the filmmakers for adapting this famously "unfilmable" novel in such an inventive way. There are SIX separate timelines that switch after every scene, but instead of the plot, the narrative continuity follows the theme of the film. Once you clue in to that overall theme, it is no longer confusing when the story jumps from a runaway slave in the 1800s to a post apocalyptic future battle between some of the last humans remaining on earth.

All this audacious style and structure makes Cloud Atlas a curiosity to say the least, but the film is lifted to the realm of "Masterpiece" by the all-star ensemble cast. This impressive collection of actors fires off amazing performances like the Expendables 2 fires off high caliber bullets. I mean this will long be considered one of the greatest acting clinics ever filmed, and a high point in some already outstanding careers, as the end credits alone are astonishing to watch.

Overall this is a movie that transcends the simple elements of stars and plots and special effects, and boldly assumes to take the cinema to another level of storytelling, much like Avatar took film to a new level of technology a few years ago. The ambition, the technical brilliance and the passion that was put into this film makes it one of the great epics of our time.

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.

This movie is a fusion of several genres (drama, adventure, sci-fi, comedy, romantic tragedy) as well as an attempt for an art-house cerebral movie to attain commercial blockbuster status. In my opinion it mostly succeeds, but finding a large mainstream audience is its biggest challenge to be met (at this point, before wide release).

Imagine taking six short (but big-budget) films with different stories and directors and combining them into an anthology feature, united by a common theme and cast of actors in different roles, and then editing the entire thing out of sequence. The "nested" narrative of the book has been re-arranged for the sake of the visual medium of film, and after first being introduced to the 6 worlds, it's not that hard to keep track of who's who, what's what and where & when. Frankly, it's a shoo-in for an Oscar nomination for Best Editing - it works very well considering the challenge of making it flow coherently.

The cinematography, set & art design, music score and performances range from good to great. The make-up in some cases created a distraction (a Korean woman transformed into a red-haired Caucasian; Hugo Weaving as a buxom female nurse) but it adds a bit of fun to the experience. There's a smörgåsbord of material here for most people: human drama, mystery, violence, sex, adventure, farcical comedy, gloomy sci-fi and occasional romance (both gay and straight). It's 6 movies for the price of one! Just be ready to spend almost 3 hours in your seat and suffer a bit of whiplash as the transitions can get frenetic at times, with multiple cliff-hangers happening simultaneously. Like a good roller-coaster, it has its lulls and rushes. Some might find the finale a bit conventional, sappy or anti-climactic. But there's no denying this is a big, expensive gamble on the part of the Wachowskis and their producers. Hopefully it'll achieve the kind of success they got with the first "Matrix" and not the fate of the abysmal "Speed Racer." (PS I saw the film at its world premiere at TIFF.)

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