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“Cloud Atlas” explores how the actions and consequences of individual lives impact one another throughout the past, the present and the future. Action, mystery and romance weave dramatically through the story as one soul is shaped from a killer into a hero and a single act of kindness ripples across centuries to inspire a revolution in the distant future. (official distributor synopsis)
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A meticulously composed symphony that theoretically contains everything and aims to intellectually reach anyone who pays attention to it. However, at the end of this three-hour shift, I wasn't dazzled, but rather unpleasantly disappointed. Lana and Lilly Wachowski and Tom Tykwer spare no visually perfect directorial ideas, but due to the imbalance of the individual stories, it's almost wasteful. I would gladly have spent at least half of the film in that Neo Seoul because I subconsciously expect action-packed sci-fi from this creative duo. Unfortunately, the odyssey of retirees, sailor ramblings, or journalist paranoia mostly passed me by sadly, and even during the catharsis, I couldn't find a direct path to them. It is a disappointment all that much greater because I seriously believed in this team – only to find myself paying attention to the role, race, or gender in which the amazing Tom Hanks or maturing Halle Berry appear.
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This was a loss. A bold and extremely imaginative, variable and deep book transplanted into a dynamic and agile network that does not raise questions, but answers didactically. In addition, the film helps itself with the hackneyed new age symmetries that we know intimately from The Fountain, but also from Mr. Nobody - if you do not know how to connect remote storylines, fateful love is the answer. In addition, the film adds to it the typical pathetism of all-encompassing mysticizing concepts such as Eternity, Infinity, Reincarnation, Destiny, and if the viewer does not happen to get it, one of the characters will literally repeat it 4 times. The result is a completely uninteresting and mechanical work for me, which fails even in moments that I considered "laid" - the 5th story of Sonmi in the book is a poignant picture of capitalist-fascist-totalitarian dystopia, in which rebellion is only a prefabricated part of the consumerist chain. That's terribly little. Compared to The Matrix trilogy, the virtuoso Speed Racer or Tykwer's "gender-deconstruction" Three, this is more of a Junk Atlas.
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It’s remarkable that the seams that connect the different stories in different time and space are so imperceptible that the film flows smoothly and the three hours are not even noticeable. Unfortunately, it results in something that has neither sufficient emotional nor cathartic effect. In other words, there is no profound experience, and by the end I felt a bit....empty. Anyway, I appreciate the courage to come up with something so non-commercial and non-subversive in this day and age, when A-film production resembles a controlled process to make money.
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It can be so much more if you let it. Happy and sad, bloody and tender. A long but beautiful film. And damn, I'm out of words. Anyway, if you want to believe in fated love, this might help. The best "short story" for me was the one from Seoul. Ah well. Even though he was deformed, Jim Sturgess was perfect.
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SIX IN ONE. I didn’t want to write an overly celebratory comment right after leaving the cinema, and I decided to let the experience brew for a day, and the result? I’m still so excited! Cloud Atlas is the best film in at least a couple of years, but also a category on its own that can not be properly compared with any other. Amazing! I can’t understand how the Wachowskis and Tykwer managed to simultaneously tell six mostly conversational stories with different styles and genres (historical drama, tragic romance, journalist investigation, black comedy, dystopian sci-fi, and post-apocalyptic sci-fi) in a way that the whole lot sticks together (actually, Cloud Atlas can’t be seen in any other way than as a whole), and where everything is clear and running smoothly, and on top of that, its three hour run feels like an action ride, instead of a confusing and dry arthouse flick. Its message may not be revolutionary or original, but who cares in this case? Or do we now expect every film to come out with its own ontological system? In any case, the ending is very effective, it brings together the climax of six stores – it’s about half an hour long (six times five minutes). Half an hour of goosebumps :) … In short, the Wachowskis and Tykwer met the expectations I had set for them (which this year Scott and Nolan couldn’t do), and at the same time they were able to surprise me with how quickly the film goes (some ninety minute films feel longer than this three hour monument), and mainly because it’s a lot more viewer-friendly than I expected. The attentive viewer won’t get lost and the receptive viewer will absorb, they only need to go a little against the flow. But more viewings will of course be necessary for even better details, and I’m already looking forward to them. 100 %
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