One day religions may be built around CLOUD ATLAS. But until that day, Capone suggests you simply enjoy this beautiful, exciting, mind-bending film!!!

Hey everyone. Capone in Chicago here.

Last year, when I reviewed Terrence Malick's THE TREE OF LIFE, I started out by saying that you would hear a great number of interpretations from critics of what the symbolism in the film meant, what the deeper meaning of the subtext was all about, etc. And I concluded my opening remarks by saying that all of this analysis was both totally wrong and totally right.

Although the new movie CLOUD ATLAS bares little resemblance to Malick's family drama combined with a history of life on earth, it shares the wonderful notion that films are not meant just to be something you experience for the two hours (or damn near three, in this case) you're in a dark theater. The best films are the ones you take home with you in your head and your heart, the ones that reveal themselves to you hours or even days after you see them, the ones you feel absolutely compelled to see again because the one viewing simply isn't enough (for whatever reason).

As co-written and -directed by Lana and Andy Wachowski (THE MATRIX trilogy, SPEED RACER) and Tom Tykwer (RUN LOLA RUN, PERFUME), based on the dense book by David Mitchell, Cloud Atlas has already been picked apart for deeper meaning and hidden agendas. But the truth is, most of the film's messages and themes are worn at surface level and—for better or worse—there isn't much much digging to be done. This didn't bother me at all, since there's enough to keep track of here in terms of plot and sheer volume of characters without then also getting lost in metaphors. But the messages worn on the sleeve of CLOUD ATLAS are plenty ambitious and worthy to keep things interesting and impressive. And as much as these filmmakers plumb the depths of faith and philosophy and expression and the soul, they never forget to keep the proceedings flowing, moving and, above all, entertaining. This one is the whole enchilada, folks.

Let's cover a few basics here that you're probably already aware of, but you'll probably do a little bit better having some idea of what you're in for. Ninety-nine percent of the time, I say go into a movie with as little advanced knowledge as possible, but I'm not sure that's necessarily true here. Still, here's a little primer. There are a half-dozen stories being told here, all set in various points in history, including two set in the future—one in the far future, after the fall (about 300 years from now, when people speak a broken-down form of English with a few new words you just have to figure out as you go; it's fun, trust me).

Within these stories are characters played by actors, some of whom appear as different characters in each of the six stories; others appears in most or a few of the stories. For examples, Tom Hanks plays everything from a devious ship's doctor on an old schooner circa 1849 to a character named Zachry in the far future, a man torn between helping a woman (Halle Berry) who may hold the key to ancient technology and killing her.

The one thing you can't get lost in is how good or bad or appropriate the makeup in CLOUD ATLAS is. Sometimes the old-age makeup on someone looks flawless, sometimes ridiculous, sometimes it's not the race, sex or either of the actor, and who the hell cares? There's no stereotyping or insulting going on here. This film has expanded on the book's loose idea that souls continue on from era to era, person to person, and someone who is a white man in the 1800s may be an Asian woman several hundred years later. The film doesn't make direct apples-to-apples references that carry from timeline to timeline (with the exception of certain music cues), but there are connective trails nonetheless.

While Hanks and Berry are both quite good, I found myself more taken by the various performances by the likes of Hugh Grant, who goes nearly unrecognizable in all of his roles; Hugo Weaving playing villain in nearly all of his performances—his Nurse Noakes is something to behold; and Ben Whishaw (soon to be seen as James Bond's new "Q" in SKYFALL), whose plays the composer of the main music piece that fuels much of the film (written by Tykwer), Robert Frobisher, opposite Jim Broadbent's nasty Vyvyan Ayrs, who steals credit for the piece. You see how this works?

The film also features find work from the likes of Jim Sturgess, James D'Arcy, Keith David and South Korean actress Doona Bae (THE HOST), the star of one of my favorite segments, set in a futuristic New Seoul, in which a service clone becomes the basis for a cultural revolution based on individual freedom. Does all of this character jumping get confusing? Not really. If anything, having such a small group of usually recognizable actors playing multiple roles helps us keep track of characters as we jump from story to story. For example, I remember each of the six characters Hanks plays here; but if six different actors played those parts, I likely would have gotten confused.

What you actually get with CLOUD ATLAS is six different movies, each with its own unique look and context, that are cut together in a way to form connections that may or may not only be in your head. I fell in love with seeing if the puzzle pieces fit (they don't always), but the juxtaposition of scenes is hardly random. I also was thoroughly entranced with the look of the film; cinematographers Frank Griebe and John Toll did a wonderful job making each timespan look unique and beautiful; if for no other reason, see CLOUD ATLAS to be mesmerized by the camerawork.

Sweeping ambition does not a great movie make. Some of the sweeping statements made in CLOUD ATLAS are downright silly, but I love that these filmmakers are even bothering to try and make them. And the film isn't all far-reaching in its intentions; there's a great deal of humor, action, and plain-spoken cinematic entertainment happening. For all the new ground this film breaks, it also paves a shiny new surface over much-treaded paths. And there's not a damn thing wrong with that.

What made me fall in love with CLOUD ATLAS was that, with just a few important adjustments to the way we are used to having movies unfold (in terms of casting, structure, production design), the Wachowskis and Tykwer have made a kind of film the likes of which you've never seen before. Potential is unlocked, possibilities are opened, and minds will be blown.

It's been more than a month since I saw CLOUD ATLAS for the first time, and there hasn't been a day that some aspect of its vast, expansive vision hasn't crossed my mind. I don't know about you, but those are the kind of experiences and recollections that I live for as a person who sees as many movies a year as my eyeballs can handle. The worst moments in CLOUD ATLAS are still better than 90 percent of the films I've seen this year. And please don't get caught up in box office figures this weekend; even if this movie falls short, that doesn't make it any less a masterpiece or give you any less of a reason you need to see it.

-- Steve Prokopy
"Capone"
capone@aintitcool.com
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