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.
Add a Review
-
ivanmessimilos10 May 2021
-
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. -
LetwitJr17 September 2012I was lucky enough to get last-minute tickets for this film at the Toronto International Film Festival. The theatre was packed and we were thrilled to see it although we did not entirely know what to expect. I had read a part of the book but never found time to finish it.
The very opening of the film is mesmerizing and sets pace for all that is to follow. Six stories are intertwined to create one magical ride through time and space, as all stories move forward as one. To those who haven't read the book, I expect you might find the movie confusing at first. It seems unclear at the beginning (and for most of the first hour and a half at least) what all these characters have to do with one another. The end ties it up quite well, but for a three hour film, you might find you've spent a bit too long grasping at straws. Just let it go and enjoy what's before you; It will all come together in the end.
An important aspect of the film is that actors play different characters throughout the film, finding themselves in different stories and eras. Often it works. The futuristic plot with Jim Sturgess is one I particularly enjoy. But sometimes, it feels like they're incorporated just a tad bit much. Tom Hanks' role in the editor's story seemed huge and important and first but it seemed we were supposed to forget about it. As I walked out of the theatre, I felt I had seen not only Cloud Atlas as a whole but a series of other films as well.
I think maybe for a film such as this one, actors who weren't as known would have been better. It may have been easier to believe in all their different characters and forget who they were. But as far as their performances went, well they were great. Tom Hanks shines from the opening sequence to the very end. Halle Berry was adequate for the journalist and Hugh Grant... actually it seems he's playing himself in this one too. But the true star as always is Hugo Weaving. He steals the screen whenever he appears and is mesmerizing both as the devil or a regular assassin.
The costumes and make up went from absolutely stunning (it may take you a few minutes to recognize actors sometimes) to somewhat distracting. Changing the race and age of an actor has got to be challenging but it's still hard to forget who they are. I expect the film will get an Oscar for this however, as I don't think anyone will beat them in this category before winter comes. The score was also incredibly powerful and beautiful and helped set the tone for the movie greatly.
Cloud Atlas will take you anywhere and everywhere. It may surprise you by its sudden burst of violence, sometimes exaggerated and almost funny, sometimes cold and raw. You might cry at times, as the characters make choices and sacrifices. One story is particularly funny and had the theatre laughing quite often.
All in all, Cloud Atlas is no ordinary film. It's a voyage that will take you to places you didn't expect. Don't try to understand it, just let yourself go and you'll find you understood what it was all about. If you're looking for a linear plot, then this film isn't for you. But if you want to experience something different, then by all means, buy a ticket for Cloud Atlas when it comes out. I know I'll be seeing it again. -
TheHighVoltageMessiah26 October 2012"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. -
christianlotzny8 October 2012There can be little doubt that Cloud Atlas will become a classic that will be watched over and over again by its devoted followers, just like its predecessors by Stanley Kubrick and Ridley Scott. Despite the many questions I had in my mind when I left the theater and the moments during the film when I felt disappointed or confused, I knew this, and I have not stopped thinking about the movie and longing to be back in front of the screen.
It is easy to criticize this movie as some have done for being overly ambitious, pandering to low taste, being too simple or too complex, with too few actors or too many, or even for celebrating revenge violence against professional critics who write negative reviews. They may all be correct, but these critics will still put themselves in the same category as those that warned audiences against 2001 or Blade Runner. The truth is that Cloud Atlas is profound in its reach, its visual and acoustic impact, its mesmerizing flow and its completely ground-breaking storytelling, and movie goers will see it and feel it in their guts.
It is a movie that is a product of our age of internet-driven universal knowledge and vision, and the freedom we have to travel the world and jump between ages, genres, images and identities at our will. It reminds us that we are human and that we can still hear our heart beat, if we listen. -
torontodog8 September 2012Kudos 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 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. -
zapata_369 September 2012I 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. -
thedeepravine26 October 2012The fact that you are interested in watching this film and that it was even made should be heralded as a collective success, because Cloud Atlas is a thought provoking film. Your personal and collective philosophies will be challenged, and your emotions will be engaged. Each of the six stories address mankind's struggle against seemingly inexorable systems/oppressors, and resolve that love can help us overcome the worst hell. Cloud Atlas also requires that you have a super-trained memory because the six story lines are jumbled and unnaturally presented. I don't mind a thinking man's movie, just as long as my brain doesn't attempt to shut down after being exhausted by the editor's brutal film gymnastics.
Three of Cloud Atlas' story lines are wildly entertaining. That also means that three are also lacking. If you are willing to accept that you may have to either take a notepad with you to keep track of the story lines and trudge through some uninspired acting (sometimes Hanks & Berry are flat), or commit yourself ahead of time to watch this film twice, then go out and purchase your ticket. Otherwise, wait for the film to come out on Netflix. -
Hitchcoc18 March 2014This is one of those experiences that defy explanation (similar to the one I had watching "2001: A Space Odyssey"). I had read the book a year before and if you had asked me to pick a book that could never be made into a movie, I would have easily selected this. How wrong I was. This masterful concoction kept me intrigued for nearly three hours and yet I'm still trying to figure things out. I agree with the late Roger Ebert that even with two or three viewings, I am still trying to put this all together. It doesn't matter. It's like looking at a painting on repeated visits to a museum, maybe the works of Breughel or Bosch. There are some themes that run through the multiple characters' existences, touching on oppression and endurance of the human soul. The performances are wonderful. I would imagine that the likes of Tom Hanks must have been in heaven, extending their acting chops. I need to watch the film again, but for now will leave it to those more intellectually astute to look at the implications of the tenets of this film. I would recommend it as an experience everyone should have.
-
JonathanWalford8 December 2012I thoroughly enjoyed this film while I was watching it, but as soon as I left the theatre and began thinking about the plot, I became aware how the filmmakers had cobbled together the story from the book and left far too many plot holes open and used too many gimmicks.
"Intellectuals" who think this film is a masterpiece will argue that you can't compare the film to the book, while using the book to shed light upon parts of the film that don't make sense without the background story from the book. Some say the film is about reincarnation, and that is how the film was sold in its promotion, but this is not the case because there are overlapping characters. The author of the book who said the only reincarnated character in the story is the central figure of each story and appears with a comet-shaped birthmark, except that two characters with that birthmark are alive at the same time.
I wouldn't normally give such a low rating to a film that, although flawed, is entertaining, but the film is getting obscenely high ratings from followers who won't look at this film critically, and find meaning where none exists. The simple message of this movie is that throughout time humans have and will continue to prey upon each other, in one way or another. This is a simple, straight forward thought and flows through all six stories. Looking for anything more meaningful than this is a waste of time and repeated watchings of the film, or reading the book is not going to make it more meaningful. -
pampowell521 October 2012The movie's premise was how one life connected with another life and the smallest of actions had a ripple effect throughout your next life and the ones to come. We began with a scene from the mid 1800's. Was that Tom Hanks? Yes! Wow! The make up and dentures were amazing. In each subsequent scene, all the main characters from Tom Hanks to Halle Berry and Hugh Grant, were transformed through make up. In fact, I didn't even realize one character was the same actor throughout the movie! "Cloud Atlas" jumped back and forth from 1849, to a post-apocalyptic Hawaii in the very distant future then back to the 1970's, and then to a few other time periods as well. This was definitely not a linear story. But as the story unfolded, you were able to find the connections between these characters and see how they had evolved (or not) as they lived each life. I don't want to say much more than that, as I love to really put pieces of the puzzle together while I watch a movie. I will admit, however, that I didn't catch everything intended. Reading interviews afterward was helpful and gave me that "AH HA!" moment.
This all-star cast didn't let me down. As each of the actors portrayed multiple characters, they deftly delivered their lines and conveyed their station and destination in that life. Hugo Weaving's characters were so typical Hugo Weaving. That's right, he played the evil guy. Shocker. But he's great at it! Hanks, Broadbent, Berry, and Grant changed ethnicities and personalities throughout the 500 year period. Again, the make-up was spectacular. I would be shocked if it didn't win several awards, including the Academy Award for Make Up. An unknown actress to me, Doona Bae, was a standout performer. Although I wasn't thrilled with seeing this Korean woman attempt to become a red-headed Caucasian with freckles, she gave her performance the depth that it needed no matter who she became and in whichever time period. I can't explain how her meek and mild manner was more powerful than any other actors', but it was. She drew me into her mind to help me understand her plight and her destiny. It was also interesting how in the future they spoke a bit differently. It sounded a bit like Cajun mixed with English and although I couldn't always understand every word they said (or even full sentences sometimes), I still comprehended the overall meaning. That was a difficult task to successfully undertake! True-true! (See the movie and you'll get that!)
Now, with all that being said, I just wasn't hooked as I watched the movie. Maybe it was just too long...2 hours 52 minutes...but I think it had more to do with knowing the characters. With the exception of Doona Bae who played Sonmi, I really didn't identify with or really know the characters which meant that I didn't care about them. Perhaps it was just too much information to convey in one movie. Perhaps, as I believe one of the directors suggested, it would have been great as a long-running HBO series. That might have been the ticket for me. So many events occurred with so many long-lasting events that effected the future that it would have been great to really get to know these people. When you're watching a movie and you're not connected to people and not caring what happens, you then lose interest. That's what happened to me.
As with many of the Chicago International Film Festival films, the directors were in attendance for the screening. Tom Tykwer, Andy Wachowski, and Lana Wachowski took the stage to introduce the film and then graciously answer a broad range of questions following the movie. Lana Wachowski explained, as she took the stage with the credits still rolling, that the movie was actually a sociological experiment on bladder control! They all realized the length, but in no way could it have been shorter and still convey the necessary information. The siblings who were also responsible for "The Matrix," explained that the making of this $102 million INDEPENDENT movie took 4 years. There were at least a dozen times that financing fell through at the last minute and the directors had to put in everything they had personally to finance this project. What a risk they took, but as they repeatedly stated, it was a project that they believed in and loved. Regarding the overall message of the movie, Lana Wachowski articulated that the emphasis was on the "act of optimism" in the world: that no matter how horrible things become, there is always someone who is there to make the world a better place. As an optimist myself, I will conclude this review with my favorite quote from the movie. "What is an ocean but a multitude of drops." We all matter and everything we do, both big and small, does make a difference. -
OttoVonB10 November 2013Characters in 6 different eras struggle and define themselves, decisions and acts of kindness (or evil) rippling through time and influencing other lives. In the 19th century, a young slaver is helped by a stow-away; in the early 20th century, a conflicted young composer works as an apprentice for a forgotten genius; in the 70s, a reporter investigates corporate wrong-doings; in the present day, a debt-ridden publisher goes through a number of absurd ordeals; in the 22nd century in Neo-Seoul, a clone waitress discovers the hidden power she possesses; in a distant, post-Apocalyptic Hawai, two survivors from different cultures try to activate a beacon that might allow them to escape a poisoned Earth.
Long summary for a complex story. I will not look at this in the context of the source novel, since I never read source novel. But since against all odds this was turned into a film - and the ordeal endured to get it made is worthy of a book itself - how does this film work on its own merits?
Tom Tykwer (Run, Lola Run & Perfume) co-directed this huge independent venture with the Wachowsky siblings (Matrix, Speed racer, V for Vendetta), and at first it is very encouraging to have such strong cinematic voices expressed through such a project. Directing duties were split depending on story segments in a way that meant the more contemporary ones were handled by Tykwer. A much more interesting, unusual and ultimately controversial decision was made to have actors recur across segments, playing various characters who differed in their gender and race. More about this later.
Cloud Atlas has been praised as a masterpiece and derided as a massive folly. Whatever it is, and in my opinion it is torn between the two, sometimes within the space even of an individual segment, it certainly is unique. In fact, when commenting on films you can often single out things that worked throughout and others that didn't... With Cloud Atlas you have a less clean-cut job on your hands.
For all the vaunted technical prowess and vision of its makers, Cloud Atlas has trouble keeping a balance, something it often just barely makes up for in pacing. For a 3-hour film containing 6 smaller stories and a framing device, it actually flies by. But then, on the flip- side, you often feel that we cut to another thread just as the one we were following was getting interesting. This ambiguity stretches to nearly all departments, even casting.
What largely saves the film and will keep you in your seat is the ever-dependable emotional anchor that is Tom Hanks. Whatever the era, he is hugely watchable, and provides much of the humanity of the film. The same can be said for Jim Broadbent, alternating between heart- breaking coward, indifferent officer and evil old bastard depending on the sub-story. Elsewhere things get more complicated: Ben Whishaw and James D'Arcy have trouble shouldering the weight that the script piles up on them, Doona Bae is undermined by the film's most controversial artistic choice, and Halle Berry is simply terrible across the board.
And for all its merits - Hanks, Broadbent, visions of different periods, the light interweaving of stories - there are two decisions that come very close to making the whole thing ridiculous: to a lesser extent, the silly future-speak from the post-apocalyptic story repeatedly makes you laugh when it shouldn't, and doesn't make sense in the broader sense of the film: why then do people use modern vernacular in the 18th, 19th and 22nd centuries but not here? The real disaster on hand, though, is the gender and racial-bending casting.
Effects makeup have come a long way in 130 years of cinematic history, especially when it comes to portraying the otherworldly, but we still haven't nailed many more natural things: aging makeup is still hit-and-miss (think of "J. Edgar"...), so changing genders and races without finding yourself in the darkest corners of uncanny valley should be quite a challenge. Here it fails miserably: the pasty, waxworks-looking futuristic Asians played by Caucasian actors are unsettling enough, but undermining poor Doona Bae's performance by trying to pass her off as Caucasian on two counts really hurts. The many faces of Tom Hanks are a bit more playful, but things become downright ridiculous when 60 years are piled on D'Arcy and Hugo Weaving plays an old nurse, and manages to be less convincing as a woman than he was in drag-comedy Priscilla. It's an impossible-to-overcome distraction in what could have been a great film, and keeps you at arm's length from an often compelling story.
In the end, I do recommend seeing this. For all its short-comings, it is never less than interesting, and even its failed experiments deserve to be experienced once. It's unlikely you'll see its like on this kind of budget anytime soon. -
Kubris3 November 2012Cloud 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 -
ramair3503 November 2012The last time I felt like this after seeing a movie was when I saw "Inception" on opening night. I realized I was seeming something that was different, creative, and classic.
Cloud Atlas is an amazing piece of film. Even the harshest of critics cannot say that this film is not ambitious. But I think that 99% of the people that see this film will appreciate it. I'm NOT one who tends to like films that are overly "artistic" (I hated "Tree of Life", for example). But while the overall message of the film is hard to put into words, it is easy to understand. The film is very watchable, and the nearly 3 hour length seems to fly by. The stories are sharply written, and for those who are afraid of getting "lost" while viewing, no worries ... you'll enjoy seeing clues that link the stories, but even if you miss the clues you still will see a story that is well explained and easier to consume than an experimental art film.
I am absolutely shocked that the reviews from the "experts" have not been more favorable, and the lack of box office sales is a crime. Please go see this movie - if you can see one film this year, this is the one! -
torontomovies11 September 2012One has to admire the sheer scale of this project. At times it may be hard to follow and you have to just let go and give up trying to understand what is happening, but I assure you it comes together at the end.
The chase scenes set in neo-seoul are heart-racing and extremely impressive. Doona Bae is spectacular as Somni 451.
Towards the end of the movie I was fighting back tears as 2 stories reached tragic conclusions.
The best part of this is that the Wachowskis/Tykwer have taken a massive risk and have done something new with a large 'pop' movie. It will no doubt divide audiences and a lot of the people who will be attracted by its sensational trailer will no doubt feel a bit alienated. But personally, I was blown away. -
Sergeant_Tibbs26 June 2013When I was a very young writer, the generation spanning saga was always an object of my naive ambition. Granted, it was soon abandoned when it seemed impossible and I imagine many young writers have the same idea at least once when they have an idea that never seems to end. I didn't realize the concept had actually been achieved to somewhat positive acclaim until I heard of this film. Regardless to say, I was intrigued. And my high expectations for Cloud Atlas didn't come from the people involved or the story/ies itself, but the ambition of the concept and the potential for true technical feat despite the love-or-hate it reputation the film was starting to gain. I had an open mind. What surprised me first was how the film is structured. It races through all the 6 stories at once, showing what seems like a 30 second to 2 minute segment of one story then cutting to the other. This rocket pace is really hard to follow at first (even if it offers the potential for clever parallels in transitions) and it begins to feel like there's about dozen stories but it soon becomes easier to digest once the first section, "The Pacific Journal of Adam Ewin" gets into the meat of its story.
The thing with a film like this with its ambition is that it's constantly building up to a grand conclusion and a grand purpose for all of it's 3 hour running time, which is really make-or- break if it doesn't live up to that every second of the way. I can completely understand why this is a love-or-hate film as it doesn't exactly deliver what it promises. Its weakest spots in the first act are very awkward to watch and this is mostly due to the hammy performances of Tom Hanks and Jim Broadbent ("The Ghastly Ordeal of Timothy Cavendish" is a real weak link in general) with make-up and costumes that are very hard to take seriously. I actually stopped watching the film 20 minutes in with no intention of continuing later but I decided to persevere and give it a chance just to have an opinion on the whole thing by taking the sillier moments as tongue-in-cheek humour. But when Cloud Atlas gets going, it is an absolute boulder of escalation. When momentum builds between several stories at once, it's pure involving cinema. Not necessarily original ideas, but a blend of genres and styles that creates something exhilarating. And just like a boulder, this momentum doesn't stop easily and takes up a good long stretch of the film. Even if I'm not clear on what's going on or not enjoying what is going on, it certainly keeps me engaged.
While the film struggles with creative payoffs to each story and relationship (even spoiling itself with a bizarre reference to a classic sci-fi film), the best payoffs are the end results of the parallels between the supposed "reincarnations" when the choice of recurring actors becomes very clear, essential and poignant. But what is the grand purpose of the film? In a film with seeming randomness but ostensible intention, there must be a point and the answer is that it's entirely political and about the evolving moral standards of society. It's about persecution of race, homosexuality and the elderly and then more vague ideas and criticisms on fuel consumption and generation and the pitfalls of capitalism and religion. Despite these bold intentions, it is very emotionally engaging, and that is due to the standout performances by Halle Berry (who is nomination worthy here), Ben Whishaw, James D'Arcy and Doona Bae, who bring a grace to their roles that is so desperately required rather than the needlessly animated attempts by Tom Hanks and Jim Broadbent, whereas Hugo Weaving, Hugh Grant and Jim Sturgess are more-or-less serviceable and only sometimes invisible.
Its technical feats are, like the stories and performances, hit-or-miss, the biggest hit of which is the rich and cinematic score, which is probably the film's finest achievement and guides us through the film better than the editing itself. The visual effects are okay, they're best when it's the vast landscapes of the last two stories rather than the action sequences where the characters don't appear to really belong in the scene. The costumes and makeup, while impressive for their variety, are much better when they're subtle. The first three stories are much superior to the last three, albeit much less ambitious. They're key to providing the 70s thriller atmosphere of perhaps the best story of the six, "Half Lives: The First Luisa Rey Mystery" (which must be on a par with "Letters from Zedelghem"). Otherwise many of the transformations are quite bizarre and look like spy disguises (particularly Doona Bae in the first story and Hugo Weaving in the last). Cloud Atlas is an interesting film, and unlike most viewers, I'm in the middle of the love-hate, as the only thing I actively dislike are half of Tom Hanks' characters but there's plenty to really like. It's not exactly art, but it's certainly got meaning and heart and is epic in every sense of the word.
7/10 -
angry_foamy18 October 2012My wife and I were able to see an advanced showing of Cloud Atlas last night at The Chicago International Film Festival. I will say that I was thrilled to see this movie from the moment I saw the initial trailer release. I am a huge fan of movies that are epic in nature and are rather daring by taking on the task of time lines that may span a millennia.
I will not provide any spoilers but I will say that the film is truly grand in scope and as you may have deduced from the trailer, the film time span passes through hundreds of years and includes many characters and story lines that are interwoven or overlap.
I cannot say enough about the performances in the film. From top to bottom, everyone displays amazing performances. Hugo Weaving obviously is a show stopper in several scenes. The make-up and costume design will throw even the seasoned film-goer off as the transitions made by these characters are nothing short of spectacular. I cannot see another film coming close to being in the same category for the Oscar in Costume and Make-Up.
The visuals and the score of the movie were the biggest takeaways for me. There were moments that reminded me of Blade Runner mixed with Out of Africa. There are a large number of stories within the film, some large and some small, but many strong enough to be individual films themselves. That being said with the long running time of the film, almost 3 hours, coupled with the multitude of story lines and the very numerous edits, the film can be a daunting task for even a seasoned viewer. I'd be lying if I said I wasn't fighting to pay close attention to every detail to the first hour of the film to understand what was happening. The first 10 minutes alone caused me some confusion.
This film will not be for everyone due to its complexity and length, but for those who are true fans of films this epic in nature will truly appreciate the film. I very much look forward to another viewing of the film and encourage everyone to see the film at least once.
Cheers -
classicsoncall4 September 2018I fully expected all the negative reviews for this film here on IMDb. Yes, it was a complex film but not impossible to comprehend. You had six separate stories utilizing multiple actors in multiple roles spanning across three centuries, with what I saw as a common theme - an unending struggle and quest for freedom, creativity, truth and beauty. There's also the overarching idea that the elites of any society will use what ability and power they have to subjugate those who they deem inferior. Consider George Orwell's "1984". What's particularly exceptional is the editing, some of the time switches occur within seconds, bringing the viewer from one time dimension to the next flawlessly. In that regard, I must caution the viewer that paying attention is of the utmost importance, or for those not engaged in the picture, not important at all. Simply said, this movie will not appeal to everyone, however it's fluid style and interesting chronology makes for a compelling story about many stories, with hints of reincarnation and standing on the shoulders of those who have gone before. Prepare for a genuine experience.
-
cristianqm31 January 2024To begin with, in this movie, a series of rather generic and somewhat cheesy stories unfold. When elements of science fiction are added, they seem quite silly and uninspired, and at times, downright stupid. This makes the more 'earthly' stories turn out to be the most effective. When addressing the concepts that make up each of the stories, they become Manichean and reductionist, both in conflicts and motivations, providing a very limited reflection on the themes addressed.
The only story that caught my attention a little was the one about Cavendish, which at least I can say was fun.
The narrative is nothing special, and the idea of telling all these stories simultaneously doesn't seem to have a purpose in itself but appears to come solely from a poor attempt to be innovative. In the end, it only results in a handful of poorly combined stories that drag on long enough to make you wonder several times, 'How much longer until it's over?'
The dialogues are very poor at times, and at some moments, they release phrases that seem intentionally placed to appear eloquent, but with all the clumsiness around them, they only end up revealing themselves.
The cinematography doesn't stand out at all; it looks like a commercial for the next iPhone camera. The image is so 'clean' that everything seems overly artificial, and combined with poor production design, it makes everything look terribly flat and empty. -
MediaboyMusings25 September 2012"Impressive". That's the best description I could come up with after being asked by my brother and sister-in-law about my thoughts on Cloud Atlas immediately following the film's second-ever public screening we'd just attended. Not a very incisive assessment, I'll grant you, but my head was still spinning as I tried to make sense of what I'd just witnessed over the film's jam-packed two hour and forty three minute running time. This may be one the most ambitious and epic films I've ever seen, demanding rapt attention from viewers as they're taken on an odyssey that spans the globe over 500 years and hopscotches between numerous interwoven story lines that incorporates just about every film genre available, featuring actors playing several different roles each. Cloud Atlas is based on British author David Mitchell's best-selling 2004 novel and was a huge challenge for the filmmakers to adapt and finance (its estimated budget of over $100 million also makes it the most expensive independent film ever made). The architects of this beautifully twisted madness are directors/writers/producers Tom Tykwer (Run Lola Run) and The Matrix's Wachowski siblings, Andy and Lana (Lana was Larry until a gender transition that was completed about five years ago). The Wachowskis, notoriously press shy, were surprisingly on hand (along with Tykwer) to introduce the film's second screening the morning after its star-studded TIFF world premiere on September 8th at the Princess of Wales Theatre.
A movie this expansive should have a massive cast, considering how many characters appear - not so in this case, though. Principle actors Tom Hanks, Halle Berry, Hugh Grant, Jim Broadbent, Hugo Weaving, Jim Sturgess, and Xun Zhou each take on multiple roles that plays loose and fast with the actors' ages, races, and genders (Susan Sarandon, Keith David, James D'Arcy, and Doona Bae also have smaller roles). Having so many dimensions to explore with all of their characters must have been acting nirvana for this lot. For the most part, they pull off the various requirements of the roles, many of which require a significant amount of prosthetics and makeup. Several of the roles were so well disguised that I was completely clueless that a certain actor had played the role until the end credits visually made some of the big reveals (learning that Berry played the white Victorian housewife and Grant a war paint-layered native completely floored me). Sticking around until the end is an absolute necessity for Cloud Atlas - the oohs and ahhs from the sold-out audience as they discovered who actually played some of the parts was a wonderfully unique filmgoing experience for me. For all of the positive aspects that the race bending and gender bending idea brings to the film, there is the faint whiff of novelty attached to it. Things do get a little silly when you have Weaving seemingly playing an Asian character whose makeup produces more of a Vulcan look (which may have been intentional, as it's for a sci-fi sequence that takes place somewhere in the 2300s), as well as in full drag playing a Nurse Ratched-like character. The latter obviously has parallels to Lana Wachowski's own life and although the nurse character provides some decent laughs, I was a little hung up on how it seemed one of the character's main functions was to generate laughs purely based on the surreal sight of Weaving playing one truly ugly looking woman. Perhaps I'm reading too much into it.
Weaving does provide one of Cloud Atlas' most memorable roles, as the seriously creepy Old Georgie, who terrorizes one of Hanks' many characters. Hanks does some of the best work I've ever seen from him, playing four different characters that range from an unscrupulous doctor in the 1800s to going far against type with maybe the film's standout character, a modern-day thuggish British writer named Dermot Hoggins who gets the ultimate revenge on a critic for a bad review. Berry is excellent with her predominant roles playing an ambitious reporter in 1970s San Francisco and a political figurehead (from what I could grasp) aligned with one of Hanks' characters in the far future, in one of the film's few story lines that doesn't quite work. Also great is Broadbent as both a composer and playing a man tricked into living in a retirement home, who provides the film's best comic relief.
The weighty Cloud Atlas principle themes of philosophy, reincarnation, oppression, and destiny, along with the film's highly challenging pace and complex non-linear storytelling construct will overwhelm many - that's okay, however. I was lost a number of times - not Tinker Tailor Soldier Spy-level lost, mind you, but definitely out of sync with what was happening on screen. This is the type of daring film that demands multiple viewings to completely grasp the filmmakers' grand scope and there's nothing wrong with a little audaciousness from Hollywood once in a while. Even with a big-name cast, it'll be very interesting to see how the otherwise difficult-to-market Cloud Atlas will fare at the box office come late October. -
Horst_In_Translation26 August 2015"Cloud Atlas" is a 2012 film that runs for almost 3 hours and was made by the Wachowski brothers ("Matrix") together with German director Tom Tykwer ("Lola rennt"). Oscar winners Tom Hanks and Halle Berry are the lead actors and many other famous names are in the cast, such as 2 more Oscar winners, namely Jim Broadbent and Susan Sarandon plus Hugo Weaving ("Matrix), Jim Sturgess and Hugh Grant. Also this film introduced Doona Bae and she is playing several major characters. This is also the core of the film. All the actors do not only play one character, but several and they live in completely different eras: the past the present and the future.
I am not familiar with the book that this is based on, but I must say that it was a decent watch most of the time. The stories are solid and make sense as much as this is possible in a film with so many futuristic and prehistoric references. Jim Broadbent is fun to watch as always and he elevates the plot about the senior citizen's home a lot. However, this film has one great weakness: There is almost exclusively black and white in this film. Characters are either completely evil or over-the-top good people There are absolutely no shades in here plus many of the actors only play characters which are on one side of the scale. Berry only plays good, Weaving only plays bad. Maybe this is also why this film did not manage to get in at the Oscars at all despite being considered one of the big competitors that year. Still, all in all, even if it does not even come close to fulfilling the ambition it had, it's still a solid watch and rarely drags, which is definitely a decent achievement for a film with such a runtime. Recommended all in all, especially if you like Hanks and the other actors, but nothing outstanding really. -
bethdixon022 January 2013Oh Hollywood, thank you for your use of music. It's the lube you use as a courtesy while you attempt to mentally rape me. It's the way you can make the emptiness seem profound. It's the way you make me feel as if I've learned a secret of life while being indoctrinated to the insidiousness of big oil, the heartlessness of corporations, the racism of Christianity, the crushing of the weak by the rich, the need for an anti-Capitalist revolution and the beauty of gay love. Your music is the cherry flavoring of the poison you have once again spoon fed me through my entertainment, a power you abuse without apology. The idea of Cloud Atlas, that people are bound through lifetimes, is one that I'm not sold on. Conversely, the common binding of the same stale ideology through reincarnations of cinema, sold with the power of music, that, you have once again demonstrated.
As much as I wanted to like this film and as much as I had hoped that this film would be creative and inspiring, I just found little of value here. This is just another demonstration of one of thousands of Hollywood propaganda pieces designed to brainwash the masses through your entertainment and push a liberal agenda.
The gist is nothing deeper than the idea of reincarnation and soul mates. There is really nothing new that this film adds to any schools of thought and it contains no idea that you didn't already more comprehensively examine when you were 19 and stoned.
The changing of stories is also nothing new to the movie industry. I've heard people describe the movie as difficult to understand or complex, but it's not. Memento was a pioneer in this realm and uncreative Hollywood types have been milking the technique for all it's worth ever since. Been there, done that. When stories start skipping around like this you should realize it's multi-threaded. At that point pay attention and just go with it and hopefully the director ties everything up well at the end and you don't realize that you've just wasted 3 hours with no payoff.
Multi-threaded stories are pretty common now. It's how Hollywood makes you think with a structure rather than a worthy plot. It's how they create a sense of complexity out of a void and in this scenario makes it next to impossible to care about any of the stories or characters.
The stories were boring, the acting was nothing special at best and I couldn't care less about any of the characters. At one point a gay man kills himself. I really don't know why, nor do I care. I know from the music that the film wanted me to care and to be emotionally invested, but nope, couldn't care less. The guy that committed suicide seemed like a self centered egomaniac douche and if there was any characteristic of him that would make me care about him, I didn't see it. I think the only character that I remotely liked was the escape slave, but perhaps just the idea of escaping made me happy after two hours into this film.
As stated above, the music is fine enough and gives you the sense that you're growing as a person, but when you actually think about it, there is nothing new, ground-breaking, or even particularly interesting going on here.
I really thought that there was a distinct chance as I was watching, that the film would take all the little pieces of crap, stick them together and I would be amazed by the brilliant piece of art that was revealed. Nope! It was just a bunch of crap stuck together. You were expecting some genius ending that unfortunately no one had the talent to produce. Kinda like "Lost". With Lost JJ wrote himself into a box he did not have the talent to coherently write himself out of, but at least Lost was interesting along the way.
I read another review that stated that there are a lot of people who are praising this movie because they're afraid that others will think they're stupid for not getting the movie. I think that is very true because I have yet to hear one rational explanation of why this film is not horrible. Here's the bad news, they are stupid. Not because they are so dumb that they don't get it, but because they're so dumb that they don't realize there's nothing there to begin with and they don't possess the mind to question it. I know Tom Hanks is in it. I know Halle Berry is in it. (SPOILER ALERT: I am about to reveal the most mind-blowing aspect of this film.) Tom Hanks and Halle Berry can be in a crap movie!
This film is best watched with subtitles as the clarity of the words is not great in some parts and is obscured by dialects in other parts, including the ebonicy dialect that adds nothing in the post apocalyptic story between Hanks and Berry. Not only did that one particular dialect add nothing, but it subtracted and distracted from the story with how silly it sounded. It honestly reminded me of Jar Jar Binks and nothing good reminds you of Jar Jar Binks!
Personally, I found my mind drifting and contemplating much deeper topics such as how much money you could make if you actually went to Hollywood with the skills to make someone look old rather than plastic. I'm looking at you too Prometheus! Some of the makeup jobs looked quite atrocious.
If you think you might like a film made up of a nougatty center of liberal brainwashing with a coating of stale ideas then by all means see this movie. On the other hand if you can tell the difference between deep sounding music and actual depth, then you'll probably be disappointed too. -
bshears9910 September 2012This 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.) -
I almost watched this movie twice, on DVD. And yes, it really helps to turn on the "subtitles" for many scenes, otherwise it is virtually impossible to make out what they are saying. I had watched the first 90 minutes then put it away for a week, started at the beginning and just watched it all the way through.
The great and late critic Roger Ebert saw "Cloud Atlas" more than once, and this paragraph from his review sums it up very well for many of us:
(Ebert) (quote)I was never, ever bored by "Cloud Atlas." On my second viewing, I gave up any attempt to work out the logical connections between the segments, stories and characters. What was important was that I set my mind free to play. Clouds do not really look like camels or sailing ships or castles in the sky. They are simply a natural process at work. So too, perhaps, are our lives. Because we have minds and clouds do not, we desire freedom. That is the shape the characters in "Cloud Atlas" take, and how they attempt to direct our thoughts. Any concrete, factual attempt to nail the film down to cold fact, to tell you what it "means," is as pointless as trying to build a clockwork orange.(unquote)
I had read that before I watched the movie, and that is pretty much the approach I took. It is long, but I was never bored, always anxious to see what would come next. One of the stories had an old composer and his young assistant working on the "Cloud Atlas Sextet", said to be a beautiful piece of music that some characters in other time periods seemed to be familiar with. Also the appearance in various time periods of a very distinctive birth mark. Perhaps it is all part of what one character says, "Our lives are not our own, from womb to tomb we are bound to others, past and present."
As the credits roll, each actor is shown as each of the 4, 5, or 6 different characters they play in the movie. The makeup and costuming are so good that in many cases I had no idea. Some of the male actors even played female roles, and some of the female actors played male roles.
All in all a very nice movie experience. DVD from my public library.