Cloud Atlas

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.

I never read the book, but was intrigued by this movie because I had heard the book was very good. I don't have as much time to read as I used to, so I watched it, sort of liked it but found it kind of tedious to get through due to all the jumping around from story to story. Seeing the different actors as different characters was more distracting than anything, and the film was paced too quickly allow the average viewer to pick up all the complexities and themes the author was likely trying to convey.

In the end, I found that it had a couple of good and original story- lines (particularly the Escape from the Nursing home plot, and the gay composer plot was good) but I found the other stories to be of the mostly bland and formulaic sort we've seen many times before (ie. guy finds out slavery is bad, investigative reporter uncovers a plot by an evil corporation, bladerunner/soilent green hybrid plot, and a fairly standard post-apocalyptic adventure story plot). While all of the story lines were entertaining, you never have enough time to become invested in each story or characters because the movie constantly jumped around between the six different plots. Yes, there are six different plots in this two and half hour movie, and therein lies there problem.

After having watched the movie, I looked up the plot of the book because I was curious to see how the author handled the story. According to Wikipedia, In the book:

"Each tale is revealed to be a story that is read (or observed) by the main character in the next. The first five stories are interrupted at a key moment. After the sixth story, the other five stories are returned to and closed, in reverse chronological order, and each ends with the main character reading or observing the chronologically previous work in the chain. Eventually, readers end where they started, with Adam Ewing in the nineteenth century South Pacific. Each story contains a document, movie or tradition that also appears in a previous story. It shows how history not only repeats itself, but also connects to people in all time periods and places."

For the life of me, I can't figure out why the directors didn't structure the movie this way. It would have worked far better. The audience would have been able to become more immersed in each story- line, and the connections between each plot would have been more apparent. As it stands, upon one viewing, it seems more like a mess that tries too hard to be clever. So then you might say "you have to watch it more than once to 'get it'". I don't want to have to watch a film more than once "get it". I paid close attention the first time. I'd rather spend my time doing something other than watching an average movie more than once. It's a sign of poor story telling if you make it so that you have to watch a film more than once in order to "get it".

This film could have been so much better if it was structured like the book and took its time to actually tell the stories and develop the characters. Instead it was paced like an action movie. I felt like I was watching Inception at times (another annoying film that you "had to watch more than once in order to 'get it'"). Perhaps it was structured this way due to a limited running time. But why even attempt to merge six completely different stories into a single movie in the first place? It would lend itself much better to a mini-series. Game of Thrones is the perfect example of a book adaptation that proved to be an immense success when told at a television show's pace. I feel like this movie would have benefited greatly if it was separated episodically like that.

Before you respond to this with elitist statements like: "I got it first watch, you're just too dumb to understand catch all the intricacies," or "the average viewer is a moron, that's why they need all the themes and messages spoon fed to them. This film treats the audience like it has intelligence and allows to viewer to draw their own conclusions." I just want to pre-emptively say "no you're wrong". The reason I think this film was a disappointment was precisely because it treated the audience like morons who just wanted to see fast paced action with no deep exploration of the themes or characters. It didn't give the audience a chance to think about any of the themes because it was too busy rapidly jumping between story-lines focusing more on action scenes rather than any sort character development. Supposedly the Tom Hanks soul goes through a whole redemption arc that I never caught because the film never actually focused on it. I haven't even read the book, yet, on first viewing, it felt like none of the major themes of the book were explored with any sort of depth. It's a shame because it seems like the book is a good one worth reading. I'm probably not going to read it now though since the movie spoiled the plots for me.

That being said, I would say this film is worth a redbox rental at least. It has some good acting and some nice cinematography and special effects. It looks very pretty. The action is also quite good, although I wish there was a little less focus on the action, and more of a focus on the philosophical themes and characters.

"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.

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