Friday 3 May 2013

Film Review: Cloud Atlas (2013)




Director: Tom Tykwer, Andy Wachowski and Lana Wachowski
Starring: Tom Hanks, Halle Berry, Hugo Weaving, Jim Broadbent, Jim Sturgess, Doona Bae, Ben Whishaw, Keith David, James D'Arcy, Xun Zhou, David Gyasi, Susan Sarandon and Hugh Grant
Running time: 172 minutes
Age Rating: 15
Release date: 17th February 2013 (UK)

Cloud Atlas is a triumphantly beautiful mess. By no means is it a bad film, it just doesn’t quite work. Cloud Atlas is based on a book of the same name. The book tells six short stories about seemingly un-related characters through different eras in time. The film also tells these stories but with a twist, it is telling them all at the same time. While the novel divided them into chronological order (i.e. after one ends, the next begins) the film runs them all in parallel, cutting between them at key points. Directed by the Wachowski's (The Matrix Trilogy) and Tom Tykwer (Run, Lola Run), it’s probably best to see Cloud Atlas with as little knowledge of the plot as possible.

It's quite staggering that Cloud Atlas even exists. Originally considered to be un-filmable and without Hollywood investment, the chances of the film being made seemed slim. However, thanks to the passion of its directors and a primarily German investment it finally got a release. One of the main reasons I like Cloud Atlas so much is because how unique and ambitious it is. It is a big budget experiment in film narrative and storytelling.  It's far more interesting than most big budget Hollywood films these days. Transformers 4 anyone?


The great thing about six different stories is the variation in genres and tone. One moment it’s a serious period drama then it shifts to science fiction, to suddenly change into a light hearted comedy. Jim Broadbent's comical escape from a retirement home cross cut with a exciting hover bike chase through the skyline of future Seoul is genius. This is held together by the editing, which manages juggle six stories unfolding and keep it interesting. It could be argued that it would get confusing, but surprisingly it does not. The individual plots are relatively simple and can be enjoyed without having to read to much into them, they become deeper and more complex with the accompaniment of all the others.

Part of the film's charm, is its dynamic use of well-known actors in multiple roles. While the stories are not connected by direct plot points the use of actors in different roles, thematic similarities and props all contribute to the feel that things are connected in a spiritual sense. For example, a pair of horn rimmed glasses appears on certain supporting characters suggesting how they are connected to from previous stories. In fact, reincarnation is a point the film explores and part of the fun is figuring out who the descendants of previous characters are. This isn't made easy either, as actors constantly shift types of roles. Tom Hanks begins the film as a villain, but with each story he is eventually brought down by his crimes and becomes a protagonist. The trick is that the directors want you to recognise the actors, even if at times they play characters of different genders or race. It adds to the sense that each story connects to the others.


The problem with Cloud Atlas is that it's much too long and drawn out. The six stories are each predictable. That isn't a bad thing, but when they slowdown in pace it feels like they are wasting your time. The punchy editing actually doesn't help in this case, as the slower scenes actually disrupt the flow of the film. The slow moments unfortunately also remind you that the film is missing that special something. It lacks the iconic edge that would have made it feel less generic than it is.

Cloud Atlas is the best kind of disaster. While it seems to be a financial flop, it’s an absolutely outstanding big budget experiment. It's a clunky creation that is fun to watch. While not a film that will be regarded as a classic, it's certainly a satisfying film that will leave you with a great big smile. Make sure you stay for the credits, as the film shows you who actors played. It's genuinely shocking and you realise that some people have been hiding in plain sight through the entire film.


Wednesday 30 January 2013

Film Review: Hanna - (2011)


Director: Joe Wright
Starring: Saoirse Ronan, Eric Bana and Cate Blanchett
Running time: 111 minutes
Age Rating: 12A
Release date: May 6th 2011


Now lets be honest. The whole one-man army on the loose, with government agents trying to hunt them down thing is pretty old now. Countless movies have done it with varying success, but none have done it better then Hanna.


Hanna is the tale of 15 year old... Well, you know. Hanna. Living in the wilderness of Finland with her father, she's mastered hand to hand combat and has an encyclopedic knowledge of the world. It's soon revealed that her father has had past as a spy and somebody (mainly CIA agent Marissa Wiegler) wants him and Hanna captured. Hanna knows that she and her father must soon leave, to learn of the world she had been secluded from and defeat the wicked witch. Cut to Wiegler who is revealed to have a past with Hanna's father, picking up on his trail and seemingly out for blood. Cue a intense game cat and mouse and a lesson on how to make a original action thriller.



Hanna takes something we all know and adds depth to it. The main character not a masculine superman, but a young girl. Yet she's never what you'd expect, as she has to be the least physically vulnerable person within the film. What makes her interesting is her struggle to fit in with other normal people. Throughout she meets several characters who don't quite understand who she is, assuming her to be a normal girl. The most significant of these being a family, seemingly traveling the globe. Between them they represent a cross section of cultural ideologies and lifestyles. It's interesting to see how director Joe Wright presents this misfit family as a comparison to Hanna's upbringing. The film deals heavily with this theme and what childhood really means. It's really a character driven film where the performances are great, put into the model of a Hollywood action film.


The film feels very grounded and realistic. Its cold and violent, so you won't see any over the top fights or explosions. Yet it implements elements of fairy tales and fantasy throughout. This changes the feel of the film significantly. It adds a dynamic flow to the movement of characters allowing them to move freely through environments, the highlight of this being Hanna's escape from the dim and muted CIA installation. It matches the character movement with the flashes of light and beat of the soundtrack. The effect of this makes it feel like a lucid dream, as if its not quite within reality. For such simple techniques, it has a really powerful and iconic effect.


The music used in the film is really powerful. As Hanna has never heard music in her life, the soundtrack imitates this. It never really kicks in or is properly formed until Hanna becomes involved with the outside world. Its a purely electronic soundtrack (created by the Chemical Brothers) that fits with the style of the film. It comes off as a modern day fairy tale. At the same time the soundtrack adds an extra layer of energy and excitement. Chases seem faster and action seems even more brutal.




Going into Hanna, I really wasn't expecting much. A few fight scenes, a chase and a lot of men in suits looking angry and confused as to why they cant catch the run-away lead character. The film was so much more. Its a smart, tense and compelling film that does something that similar films don't. It made me care. The result of a strong and talented female lead, expert film-making techniques and stunning soundtrack has crafted a amazing film. I know a lot of people missed this film first time round, so here is your chance. Go out and see Hanna. Go see how a great action film can have substance behind it.

So yeah, it's really quite good.