The Just Missed Category:
Life of Pi, The Imposter, Killer Joe, The Avengers, The Raid: Redemption and my last and toughest omission: Chronicle
10. Django Unchained
This movies and Dark Knight Rises are both cases where I like the parts better then the whole. In Django's case, a scene stealing Christoph Waltz dominates the movie (fast with the quick draw, but even faster with his wit and his ability to talk his way out of any situation), its great seeing Leo DiCaprio play against type, and a whole host of random character actors (and an amazing Jonah Hill cameo) fill out the cast. I really dug the anachronistic music throughout and especially early on there's some laugh out loud humor (similar to Inglorious Basterds). I found the tone shifts to be really distracting: this movie gets remarkably grossly violent and mean spirited (the Mandingo scene, throwing Django's wife in the box) and feels out of place with the more comical early moments. Finally, I feel like Samuel L. Jackson looked and sounded fairly goofy and his fairly one joke premise was stretched a bit far. I love myself Mr. Jackson but this was not his finest hour. I still liked the movie just enough to fit it into the top though. 9. Dark Knight Rises
Another really tough movie for me to rate, I had it as high as 5 and off the list at different points. Its a dense, intensely visceral, and very rewarding spectacle of a film, one that stands on its own as well as wrapping up the Nolan Batman universe. Tom Hardy as Bane by itself would be my favorite performance (For me, an Academy Award supporting actor snub) of the movie, adapting a great comic book villain to the more realistic Nolan universe. Newcomers Anne Hathaway (creating an interesting character far from Michelle Pfeiffer and universes away from Halle Berry's portrayal of the character) and Joey Gordon-Levitt, the returning pros (Oldman, Freeman, Caine) form a powerful cast.So why wasn't this higher? The many many silly plot holes - the "broken" ejector seat, why Batman insisted on fighting Bane hand to hand and not using his utility belt beyond one smoke bomb, how incompetent the law enforcement of Gotham acted. Also, I can throw in the underwhelming end to Bane's story, Marion Cotillard seeming a bit miscast and the whole third act being a little silly and not as gritty/grim as the amazing middle section. Yes, there are a lot of plot holes in the Dark Knight as well but felt the Joker's whole "chaos" scheme was a clever way to account for these. Batman forgetting to use his "knockout" batarangs until the last half hour, not as much. I'm nitpicking, I do own this movie, I did really like it, but not enough to get it to the top part of the list.
8. Prometheus
I do feel a little bad for criticizing the plot holes of Dark Knight Rises and putting Prometheus 1 spot higher. My initial viewing of this movie in 3-D was my second best theatrical experience of the year. Visually, this film is completely stunning, and Michael Fassbender gives a memorable performance combining a dimly creepy inner void with a precisely calibrated exterior. Noomi Rapace also grows from a fairly cold unbeliever to an action, proactive hero.
However, there are some massive problems with this movie... Idris Elba has nothing to do, Charlize Theron has no impact on the plot, Guy Pearce as Mr. Burns is an embarrassing performance (don't know why a more age appropriate actor wasn't cast for this part). The "scientists" act less professional then the space truckers from the original Alien (taking off their helmets, touching everything including the hissing cobra looking alien, messing around with the architect head).
Given all this, you can question why I rated this movie in the top ten and over Dark Knight Rises or Avengers... The spectacle and scope of this movie as well as the interesting questions and philosophies (although a lot of the questions are fairly open ended) are what place it so highly. I was able to overlook some of the third act problems for the compelling first act as well as Fassbender's phenomenal performance. The conclusion although somewhat ambiguous left a lot of room open for future entries in this franchise (and I loved that they didn't tie it directly to Alien).
Plus, the tension in that crazy medipod scene, nuff said.
7. Moonrise Kingdom
Set in 1965, the dreamlike Moonrise Kingdom feels more like a fable come to life than a traditional movie. The perfectly cast young duo of Jared Gilman and Kara Hayward play an orphaned boy scout and an eccentric dreamer, respectively, who, guided by a shared first-time love, run away from their homes and cause a formidable cast of grade-A actors (including Bruce Willis, Edward Norton, and Bill Murray) to drop everything and search for them. Bizarre shenanigans, tender (and somehow not creepy) kiddie romance, and unpredictable storytelling ensue.
Between the camera work, the pitch perfect 1960s score (multiple Burl Ives song in a major movie), the quirky cameos (Harvey Keitel as the Scoutmaster is some casting genius), and the vibrant color scheme, there is so much to like in this film. I also have a little bias as some of the inane parts of the Khaki Scout existence correspond to my own experiences as a Boy Scout in my youth. I would finally be remiss to not mention Jason Schartzmann, who completes steals the movie once he shows up in the third act.
Admittedly, I'm personally a bigger fan of visual spectacle and drama then quirky comedy, this movie bucked the trend and I felt myself smiling the whole way through. Partly, this is because of its wonderful execution (I loved Bob Balaban as the narrator) but mainly as a reaction to Anderson’s unflappable, singular brand of optimism. I honestly think that even though it almost feels like self parody at times, that this is the best Wes Anderson film to date
6. Looper
Rian Johnson's masterpierce and a movie that combines a complex time travel story while never skimping on headiness and ambition. Joseph Gordon-Levitt (hardly recognizable under tons of makeup) plays a futuristic mob-hired hitman whose job requires him to murder people sent back from the 30 years into the future, and whose life gets very complicated once his future self (Bruno Willis) becomes his latest target. And with that, you've got a high-concept action film rooted in science fiction and driven by characters. Through the bombastic set pieces, there's allusions to the old west and a lot of silence, wide open space, and stillness.
Impressively, though, Johnson underscores all of Looper's futuristic glossy eye candy and twisty plot with an surprising amount of emotional intensity. As the film progresses, it becomes clear that he's not afraid to plunge into dark, very unmainstream moral territories, ones that require viewers to adjust their sympathies. The third act of the film was smartly not spoiled in the trailers and I don't want to discuss it here, but it provides a fitting end and takes the movie in a really unexpected direction.
So why isn't this movie higher for me? I think its too intellectual for its own good at times, there are some plot holes and problems inherent to time travel movies (the final solution seemed a little off although tonally appopriate) and I think the movie does lose some steam as it keeps going (the opening 40 minutes or so are absolutely phenomenal). However, this was mentioned in a bunch of "top 10" lists and I was genuinely surprised that it didn't receive a best picture nomination ala District 9.
5.The Grey
Speaking of Oscar snubs, I'd have loved to have seen Liam Neeson get a best Actor nom for his work in this film. He plays a tough, tactiurn, and mournful "wolf sniper" named Ottway who goes down with a plane full of character actors/oil workers and have to survive against both the harsh Alaskan wilderness as well as the agents of destiny, a pack of wolves.
Masanobu Takayanagi was in charge of cinematography (also responsible for the excellent Warrior and Babel) and actually made me feel cold in the theater as well as capture the existential nature of the film. The trailer promised Neeson wolves in the face, the movie delivered so much more drama. Although some of the characters fit into some common types (the funny guy, the nerdy guy, the arrogant jerk) I feel like the smart script and actors elevated the characters beyond what you'd find in a movie like this.
Its because I have such a personal affinity to the outdoors and Alaska that this movie spoke so much to me (similar to how i love Into the Wild, Grizzly Man, and a little different, 127 hours). I do volunteer at Wolf Haven and I'm pro wolf... I agree with director Joe Carnahan that the wolves are a metaphor for the harshness of nature. Its also a lot more cinematic to watch actors fight wolves rather then slowly freeze to death (what would most likely happen in this situation). I'll finish my thoughts on this by saying that this movie has the best/most satisfying ending of any of the movies on this list.
4. Argo
I generally hate the Academy Awards and the stuffy character driven period pieces that generally win. I was surprised and happy when Argo brought home the grand prize this year. Ben Affleck is a man with already one Academy Award for the screenplay for Good Will Hunting and as both the star and director of this movie, he earned this one.
The story is based on a declassified true tale, weaving in the true events of the actual hostage crisis (some of the most riveting exposition in cinema takes place in the documentary like first five or so minutes). The first half of the movie deals with the plan of setting up the fake Argo film and utilizing the outstanding duo of John Goodman and Alan Arkin in award-baiting form (Arkin got the nomination). Bryan Cranston too adds gravitas, getting arguably the line of the film, (I like this one better then Argo fuck yorself), when he warns Affleck of an impending meeting with the charming words “Brace yourself, it’s like talking to those two old fucks on The Muppets”.
If the first half brings the laughs, the second, from the moment when Affleck’s Tony Mendez boards his plan to Iran, turns a lot more serious. It’s made abundantly clear just how high the stakes are in the earlier stages of the film, and as a consequence of that work, the tension never lets up from the moment Mendez sets foot in Iran. Especially the market sequence, when Affleck takes the aforementioned diplomats for a "location scout", and try and prevent yourself gnawing the nails off your fingers.
Its difficult to explain, but the devil really is in the details int his film. Small things matter, such making the gluing together of shredded paper seem amazingly ominous. Little details sown throughout the film threaten, but don’t always have resonance. There are red herrings and things that matter, and Affleck never lets you get comfortable by revealing which is which until he has to.
As a result, the third act of Argo accomplishes what most "based on a true event" stories cannot, in that the ending is known, but the movie keeps pouring on the tension. I find so many biopics to be letdowns because you already know exactly where its going, but the direction and outstanding cast makes it compelling. Finally, I found myself really interested in the inevitable "Stand by Me" type credit sequence where you learn what happened to everyone in the cast. So I was happy Argo won (it was at least in my top 10, unlike the prior year's winner) but it wasn't my top of the year...
3. Zero Dark Thirty
Its impossible to discuss this amazingly gripping movie without talking about the controversy swirling around it... the Republicans complained that it was borderline propaganda for Obama's reelection while the Democrats pointed fingers that the movie was somewhat of a love letter to illegal rendition and torture. While Zero Dark Thirty is patriotic, director Kathryn Bigelow and writer Mark Boal, are primarily interested in pursuing the truth and telling this true story without appealing to the ideologies of either side.
Jessica Chastain, who I think completely was robbed of best actress (I found this part so much more difficult then Jennifer Lawrence in Silver Linings), puts out a subtle and powerful performance. Maya, thevulnerable yet tough CIA analyst demonstrates amazing reserves of resolve and courage in an exhausting 10 year search for Bin Ladin. Figuring out where Osama's Bin hiding (I know, bad joke) takes her deep into a world of "enhanced interrogation" (where Jason Clarke, also great in Lawless, plays the frustrated torture technician). Chastain dips and ducks through the many leads and red herrings that finally brought investigators to a compound in Abbottabad. In fact that part of the movie reminded me of the excellent and forgotten Zodiac, where the procedural bits were almost more compelling then the finale.
The third act involves the now famous Seal Team Six (The two most notable members played by Chris Pratt and Joel Edgerton) and executes the raid itself with heart pumping and stomach turning intensity. Though Bigelow and Boal pay tribute to the skill of the investigators who found Bin Laden and the SEAL members who stormed the compound, they aren’t interested in the triumph itself. It’s a sobering journey into the darkness, there's no chest bumping or hurrah, only one world of affirmative dialogue (Geronimo). Zero Dark Thirty definitely honors the competence (the efficiency of the Seal Team is amazing) and sacrifice of people involved in this operation (Jennifer Ehle's fate is particularly devastating), but within responsible limits.
The final shots of an emotionally devastated Chastain crying alone on a cargo plane confirm that Zero Dark Thirty isn’t meant as a stirring Private Ryan tribute to the men and women responsible for taking down bin Laden but a film about the immense costs of revenge and its immense costs. Its a grim, voyeuristic thriller and like Argo, maintain that suspenseful hold on audiences until the end. For me, although its less entertaining, the importance of the film made it a better choice for this year's Best Picture Oscar (I liked this so much more then the Bigelow film that actually won Best Picture).
ere
is a disquieting storm surrounding the new film about the hunt for
Osama bin Laden. Kathryn Bigelow (THE HURT LOCKER) explores the ten year
search for the man held responsible for the devastating tragedy that
took place at the World Trade Center on September 11th, 2001. Many a
filmmaker might have taken on this sensitive material with a more
sensationalized approach. Thankfully Bigelow manages to create a high
tension tale of CIA Operatives and their desperate search to capture a
terrorist in hiding. She offers a very compelling and morally complex
take on a story which spanned two American presidential administrations.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpuf
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpuf
REVIEW:
There is a disquieting storm surrounding the new film about the hunt for
Osama bin Laden. Kathryn Bigelow (THE HURT LOCKER) explores the ten
year search for the man held responsible for the devastating tragedy
that took place at the World Trade Center on September 11th, 2001. Many a
filmmaker might have taken on this sensitive material with a more
sensationalized approach. Thankfully Bigelow manages to create a high
tension tale of CIA Operatives and their desperate search to capture a
terrorist in hiding. She offers a very compelling and morally complex
take on a story which spanned two American presidential administrations.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her.
As the movie progresses, we follow what is essentially a detective story. Clues are followed and sometimes they help, yet other times they can be gravely serious mistakes. Thankfully, Chastain gives what might very well be her best performance to date. It would be almost impossible to really relate to Maya, as it is unimaginable the choices she would be called upon to make. However, deep within her delicate voice and soft features we see the driven and powerful woman that she is. As the central character, she effectively gives this story its human element. This is a powerhouse performance that reminds us why Chastain is one of the most compelling actresses in recent years.
While not a traditional action film, Bigelow creates an astounding level of suspense. Oftentimes you know exactly what is going to happen, yet it builds and builds to its ultimate conclusion in an excruciatingly tension fueled way. How much of this story is absolutely accurate, I’m not entirely sure. Yet there is a very distinct sense that the research done is remarkably close to the events leading up to the cinematic and of course, real life conclusion. ZERO DARK THIRTY (military jargon for the dark of night) is a pulse-pounding look at the pursuit and capture of the elusive Osama bin Laden. Ethically challenging and smartly crafted with an award worthy performance from Chastain, this is certainly one of the best and most provocative films of 2012. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpuf
REVIEW:
There is a disquieting storm surrounding the new film about the hunt for
Osama bin Laden. Kathryn Bigelow (THE HURT LOCKER) explores the ten
year search for the man held responsible for the devastating tragedy
that took place at the World Trade Center on September 11th, 2001. Many a
filmmaker might have taken on this sensitive material with a more
sensationalized approach. Thankfully Bigelow manages to create a high
tension tale of CIA Operatives and their desperate search to capture a
terrorist in hiding. She offers a very compelling and morally complex
take on a story which spanned two American presidential administrations.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her.
As the movie progresses, we follow what is essentially a detective story. Clues are followed and sometimes they help, yet other times they can be gravely serious mistakes. Thankfully, Chastain gives what might very well be her best performance to date. It would be almost impossible to really relate to Maya, as it is unimaginable the choices she would be called upon to make. However, deep within her delicate voice and soft features we see the driven and powerful woman that she is. As the central character, she effectively gives this story its human element. This is a powerhouse performance that reminds us why Chastain is one of the most compelling actresses in recent years.
While not a traditional action film, Bigelow creates an astounding level of suspense. Oftentimes you know exactly what is going to happen, yet it builds and builds to its ultimate conclusion in an excruciatingly tension fueled way. How much of this story is absolutely accurate, I’m not entirely sure. Yet there is a very distinct sense that the research done is remarkably close to the events leading up to the cinematic and of course, real life conclusion. ZERO DARK THIRTY (military jargon for the dark of night) is a pulse-pounding look at the pursuit and capture of the elusive Osama bin Laden. Ethically challenging and smartly crafted with an award worthy performance from Chastain, this is certainly one of the best and most provocative films of 2012. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpuf
There
is a disquieting storm surrounding the new film about the hunt for
Osama bin Laden. Kathryn Bigelow (THE HURT LOCKER) explores the ten year
search for the man held responsible for the devastating tragedy that
took place at the World Trade Center on September 11th, 2001. Many a
filmmaker might have taken on this sensitive material with a more
sensationalized approach. Thankfully Bigelow manages to create a high
tension tale of CIA Operatives and their desperate search to capture a
terrorist in hiding. She offers a very compelling and morally complex
take on a story which spanned two American presidential administrations.
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpu
Jessica Chastain stars as Maya, a young CIA officer whose job is to find terrorists. Clearly it would be impossible for Bigelow to use the real names of those involved so Maya is “based” on a real person. Chastain is perfect as a woman whose life has become all about finding bin Laden. She creates a character that is at once conflicted about the torture of an Al Qaeda detainee, yet defiant that they must do everything in their power to complete their mission, and that is to track down and kill bin Laden. The task proves to be one that will most likely haunt Maya for as long as she lives, as well as those around her. - See more at: http://www.joblo.com/movie-news/review-zero-dark-thirty#sthash.MUQxVZNm.dpu
I loved this movie so much I wrote a pretty substantial article about it but didn't want to spoil it right away... So here goes my comprehensive Cabin thoughts...
It’s hard to imagine a more generic horror title and given the trailer and description, it doesn’t sound like a very promising film either: it’s a postmodern horror movie by a first-time director, starring some good looking actors in their 20s. But in spite of all that I think Cabin was the most exhilarating and original movie of 2012.
Now I personally don't have a huge fanboy love for Joss Whedon. Serenity and Firefly were decent enough, I have little to no knowledge of Buffy, Dollhouse, or Angel, and this came out (and was shot) well before the Avengers. Now you can see the Whedon influence everywhere, from some of the cast, to the snappy dialogue and the genre playfulness. But it’s not entirely Whedon’s movie, he didn’t direct it and even if he had, that wouldn’t necessarily have guaranteed its success. I feel like a Whedon solo Cabin would be less gory, one of the most enjoyable things about the film is the way it balances its horror and comedy, and things do eventually get very, very bloody in a way Whedon doesn’t usually seem comfortable with. The director, Drew Goddard, on the other hand, is clearly a horror lover, and doesn’t shy away from throwing in some nastiness (and blood) when it’s needed. Goddard also brings a clear enthusiasm and affection for horror movies to the film, too, which keeps the film from feeling too snarky.
The amazing thing is that at its roots, it’s a perfectly straightforward movie about some kids who go to a cabin in the woods and discover something horrible. This has been done many, many, MANY times, but Cabin is also a deliciously barbed deconstruction of the horror genre. It’s incredibly well observed, and horror fans will enjoy seeing so many well-established tropes being set up, but the real fun is in the way Cabin takes them all apart again. It borrows liberally from other horror movies, but in a knowing way, and it has a point to make, it wants us to re-examine our relationship with the genre (though not without having fun first). It suggests that horror serves a purpose in the world, and that maybe, well, maybe horror fans deserve better.
It’s obvious that a lot of love went into the making of this movie. Enthusiasm radiates off the screen, and it’s clear that everyone’s having fun, considering what a nightmare it must have been to get some of the scenes to work. (Without spoiling the plot too much, the special effects team probably deserve an award or ten.). Im amazed how much the 30 million dollar production budget was stretched. You won’t want to blink at any point in the film, but particularly not towards the amazingly ambitious and ridiculous finalee, for fear of missing something amazing. It’s definitely a film that rewards multiple viewings both for the sheer spectacle of it, and to appreciate the brilliant and dense plot.
Plus, despite everything else that’s going on in The Cabin In The Woods, it does a really good job of creating a set of characters you can’t help but care about. Making you root for its characters is one of the toughest challenges any horror movie faces, because you know most of them will die at some point, and that they’ll probably make some really bad decisions along the way, but Cabin makes it look easy – both through the clever writing and through the fantastic performances, well, the entire cast. There’s not a single character who doesn’t seem to have some kind of inner life, not a single stereotype left out. But special props have to go to Bradley Whitford and Richard Jenkins who completely steal the entire movie. I could talk about some of the really specific details I loved (the "betting" pool is probably the best) and a certain cameo at the very end...
In the end, Cabin didn't break the box office records, but it did gross a respectable 66 million. I could only wonder how much better it could have done if it was released in October of 2012 with Whedon's Avengers cred and Chris Hemsworth (Thor himself) being front and center in the marketing. In closing, I'm curious to see what sort of legacy Cabin may create. Scream made horror movies self referential, Blair Witch gave rise to the found footage, Saw pushed the envelope of R as far as it could go, and the Ring brought back scares without the gore. I can't imagine anyone copying Cabin like some of those movies were copied, although the Evil Dead remake reminded me a bit (the fact that Cabin was a satire of the original Evil Dead has something to do with it).
So if you haven't seen it, please watch this love letter to horror, and I assure you the next time you see a movie that features stupid kids drinking, smoking weed, and having premarital sex then getting slaughtered out in a cabin in the wood, you'll crack a smile.
1. Cloud Atlas
And here we go... probably my least conventional "Best movie of the year" choice I've made. When I look back at the movies of 2012 and the ones that had the most personal impact on me, it was actually a fairly easy choice. I saw this on the Seattle IMax screen at the Seattle Center and although I've seen couple other epics there (The Hobbit:Why Is This Three Movies? and Pacific Rim), neither came close to Cloud Atlas.
Given the ranking, I'll try and break things down... the Wachowski brothers have not made good movie since The Matrix back in 1999 (although they produced V for Vendetta, they have only directed the Matrix sequels and Speed Racer.. woof!). They team up with writer/director Tom Tykwer (behind Run Lola Run and Perfume, two other excellent movies). The collaboration between the kinetic frenzy of the brothers and the quieter introspection of Tykwer brings an interesting balance to the story. Now to tell the story of this movie would take almost a whole another 5,000+ words... For those don't want to sit through the 3 hour runtime, here's my take...
Cloud Atlas begins and ends with a very old man telling a story. It takes a moment to realize that the man is Tom Hanks and overall the makeup effects are outstanding (I'm amazed it didn't even get a nomination and that Les Miserables won instead). The actual movies begins by telling the tale of a sick sailor (Jim Sturgess), who is taking a sea voyage to return to his family in the 1800s. Around the turn of the century, a gay musician (Ben Whitshaw) becomes the apprentice of a famous composer hoping that he will one day write his own memorable composition. In the 1970s, a reporter (Halle Berry) is trying to a break a story about a faulty nuclear power plant. In the present day, an old book publisher (Jim Broadent) is tricked into going to a retirement home against his will by his brother. The first future story (year 2200 or so) is about a clone (Doona Bae) trapped for her whole life serving in a restaurant with other clones. Finally in the far far future (year 3000+), a tribesman (Tom Hanks) takes a technically advanced outsider on a journey to save mankind.... Whew, that covers the bare bones of the six main stories.
These stories are presented chronologically at first to set them all up. After that, the movie jumps to each story out of chronological order, though not randomly, clearly with purpose. One of the characters early on says "There's a method to this madness" which practically breaks the 4th wall on repeat viewing. It all works out thanks largely due to the editing skills of Alexander Berner. There is a magnificent smoothness to everything, though, in the hands of someone less capable, it could have gotten quite muddled. Even with this, its almost overwhelming to take in the wide variety of settings, times, and dozens of characters, but once all the stories are set up, the movie narrows things down and focuses on the ebbs and flows of a few pieces instead of all six.
I mentioned the lead actor in each time period, but also on board are Hugh Grant, Susan Sarandon, Keith David, James D'Arcy, and Hugo Weaving. The all star cast obviously got on board for this project because, from an actor’s perspective, it must have been quite challenging. All the actors play multiple parts across all six timelines, thus with the 11 actors mentioned by name there are 50+ characters. On first viewing, given the excellent makeup, I didn't even recognize some of the more famous actors in the smaller parts. There's an excellent credits sequence that shows who, where, and when everyone played. My two favorites were Tom Hanks and Hugo Weaving in the present day along with Hugh Grant in the far future (but no spoilers about who they are)
The end credits reveal that the directing duties on the movie were split up evenly between the Wachowskis and Tykwer, each directing three apiece. Not surprisingly, the Wachowskis took on the segments that take place in the future, with breathtaking action and visuals alongside with fully developed characters (Doona Bae in particular was heartbreaking) in which audiences become deeply invested. Tykwer, meanwhile, adds the right mix of comedy, drama and even a little shock value to make his sequences just as enjoyable to watch. I also like that the movie doesn't spell everything out, even what the actual connection between the characters are (I feel the actual message combines actual reincarnation, rebellion against the norm, love conquers all). Its long, moving, immersive, completed by some moving music (the actual Cloud Atlas sextet is beautiful) and just an overall really memorable cinematic experience that stuck with me.
So there it is, my top 10 of 2012 that took me over a year to write. 2013 is looking good so far (Prisoners, Upstream Color, Elysium are all on my preliminary best of list).
So for the distant past, the far past, the 70s, the present, the future, and the far future... Patrick, turning off the lights for another recap.
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