You’ve Got Mail (1998) VHS Movie Review

by AnalogJonesTOFNovember 29, 2018

You’ve Got Mail (1998) VHS Movie Review

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You’ve Got Mail was released into theaters on December 18, 1998, on a budget of $65 million and made $250.8 million at the box office.

Directed by Nora Ephron who also directed When Harry Met Sally (1989) and Sleepless in Seattle (1993).

Nora Ephron also produced this film and co-wrote the screenplay with her sister Delia Ephron. This movie is based on the play Parfumerie by Miklós László.

You’ve Got Mail Cast
Tom Hanks as Joe Fox
Meg Ryan as Kathleen Kelly
Parker Posey as Patricia Eden
Jean Stapleton as Birdie Conrad
Greg Kinnear as Frank Navasky
Steve Zahn as George Pappas
Heather Burns as Christina Plutzker
Dave Chappelle as Kevin Jackson

You’ve Got Mail VHS Trailers
You’ve Got Mail Soundtrack promo

You’ve Got Mail Plot
Before the movie begins, we are treated to an astonishing 90’s opening credits of dial-up internet sounds and early 3D rendering that made my heart swell with joy. Kathleen Kelly is involved with Frank Navasky, a leftist newspaper writer for The New York Observer who is always in search of an opportunity to write for the underdog. While Frank is devoted to his typewriter, Kathleen prefers her laptop and logging into her AOL email account. Using the screen name “Shopgirl,” she reads an email from “NY152”, the screen name of Joe Fox, whom she first met in an “over-30s” chatroom. As her voice narrates her reading of the email, she reveals the boundaries of the online relationship: no specifics, including no names, career or class information, or family connections. These opening scenes are an overload of 90’s sounds from the internet loading to the AOL robot voice of “You’ve Got Mail.”

Joe belongs to the Fox family that runs Fox Books a chain of mega-bookstores. Kathleen runs the independent bookstore The Shop Around The Corner that her mother ran before her. The two are shown passing each other on their separate ways to work, revealing that they visit the same neighborhoods in the Upper West Side of Manhattan. Joe arrives at work, supervising the opening of a new Fox Books in New York City with the help of his best friend, branch manager Kevin. Kathleen and her three store assistants, George, Aunt Birdie, and Christina, open up her small shop that morning.

Following a day with his 11-year-old aunt Annabel and 4-year-old half-brother Matthew, Joe enters Kathleen’s store to let his younger relatives experience story time. Joe and Kathleen have a conversation that shows Kathleen’s fears about the Fox Books store opening around the corner. He withholds his last name and makes a sharp exit with the children. At a publishing party for New York book business people later that week, Joe and Kathleen meet again where Kathleen discovers Joe’s true identity. She accuses him of deception and spying, while he responds by disparaging her bookstore.

The Shop Around the Corner slowly goes out of business. Kathleen enters Fox Books to discover the store is friendly and relaxed yet without the same dedication to or knowledge of children’s books as her shop. Her employees move on: Christina goes job hunting, George gets a job at the children’s department at the Fox Books store, and Birdie retires.

When the two finally decide to meet, Joe discovers with whom he has been corresponding. At first, he chooses not to meet her but then joins her without revealing his online identity, leading them to argue once more. Joe later resumes the messages, apologizes, and promises to tell her why he stood her up eventually.

After both quietly break up with their significant others, Joe realizes his feelings towards Kathleen and begins building a face-to-face relationship, still keeping his online identity a secret. He plans a meeting between his online persona and her, but just before she is to meet her online friend, Joe reveals his feelings for her. When she is waiting for “NY152” at the meeting spot, she sees Joe and his dog, realizing he was “NY152” the whole time.

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Geekscape Movie Reviews: The Post

by MCDaveJanuary 16, 2018

The name Steven Spielberg has long been synonymous with quality filmmaking, and the reliable trend continues with the auteur’s latest Oscar-bound endeavor, The Post. Tapping into the nation’s current political climate, where the standing presidential administration has emphatically combated contemporary news reporting, Spielberg circles back in U.S. history to an eerily familiar time when Nixon sought to silence the media. And with Hollywood entrenched firmly on the opposite side of our President, some believe The Post could actually steal a Best Picture win at the Academy Awards as a clear statement of their dissatisfaction with his policies and public statements. But only time will tell how tall the The Post truly stands against the greatest cinematic achievements of all-time.

In 1971 a Washington Post reporter receives over 3,000 pages of a classified U.S. study regarding the nation’s complete involvement in the Vietnam War. Fiery editor Ben Bradlee (Tom Hanks) tries to convince the Post‘s owner, Kay Graham (Meryl Streep), to publish the documents, which contain information spanning four presidential administrations and detailing their incessant lying to the public and even congress throughout the duration of the war. Yet, as Graham is caught in the middle of trying to sell her newspaper and demands from the United States Attorney General not to publish the classified material, she’s forced to balance her financial well-being and journalistic integrity surrounding an entire war based off of lies and misinformation.

Spielberg’s The Post captures a pivotal moment in U.S. history with sharp vision and an unusual conciseness that leaves you longing for more. As far as iconic films regarding news journalism, such as All the President’s Men and Spotlight, Spielberg’s effort comes close to their grandeur but not quite close enough. His direction is on point, per usual, yet The Post‘s third act cruises by in a stepping-stone sequence intended to briskly conclude the film. This flat finale is also painted with cheap sentiment, illustrated by the courthouse scene where Streep’s character exits through a crowd solely of women appearing absolutely inspired by her courageous decisions, merely serving as a lazily crafted symbol of her female empowerment. However, tacky elements have became a frequent staple in Spielberg’s work, something that sadly puts a blemish on his always superb abilities as a filmmaker and visionary. And as far as performances go, Streep and Hanks, an absolute powerhouse of a pairing, provide exceptional turns that don’t quite stack up to the pinnacles of their careers, but are certainly worthy of the Oscar praises that they’ve garnered. The Post flows naturally and comes and goes with immense ease, once again proving that Spielberg is a timeless filmmaker capable of delivering highly respectable work at every turn.

GRADE: 4/5

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Geekscape Movie Reviews: Bridge of Spies

by MCDaveOctober 20, 2015

Whenever the great Steven Spielberg takes a seat in the director’s chair, audiences worldwide watch intently in hopes of another epic masterpiece. That comes with the territory when you’re a two-time Academy Award winning filmmaker. But even though Spielberg has cemented his legacy with classics like Schindler’s List, Saving Private Ryan, Raiders of the Lost Ark and E.T., it’s unreasonable to confuse his latest winning effort, Bridge of Spies, with these other exceptional films.

After insurance lawyer, James Donovan (Tom Hanks), is handed the undesirable task of defending a newly arrested Soviet spy (Mark Rylance) during the height of the Cold War, his dedication to The Constitution and his belief that his client deserves a fair trial turn Donovan into a social target. But when an American pilot is shot down and captured by Soviet forces, Donovan must venture to Europe and negotiate an exchange of prisoners between these two enemies. With an entire nation relying on his efforts, Donovan must put his greatest bargaining skills to the test.

There are plenty of highlights surrounding Steven Spielberg’s finest motion picture in over a decade, but perhaps none shine brighter than a terrific collaborative screenplay from Mark Charman and the Coen brothers. Their charming and witty dialogue form the foundation for this Oscar destined feature. And who better to bring these words to life then the greatest living actor, Tom Hanks? The two-time Academy Award winning actor shows he still has the skills to compete with the best as he nails the performance and makes a strong case for contending in the wide-open Best Actor race. But despite the massive amount of screen time devoted to Hanks’ James Donovan character, supporting star Mark Rylance does an outstanding job of standing toe to toe with his highly regarded counterpart. Rylance’s exceptional turn as a detained Soviet spy becomes so memorable that he feels like a safe bet in the Supporting Actor competition. Bridge of Spies also benefits from sound direction at the hands of Steven Spielberg, leaving the film as another all-around solid effort from the legendary director.

Although engaging dialogue and impressive performances sustain Bridge of Spies, the feature also suffers in a few notable areas. The intriguing true story being examined is actually quite simplistic. However, in typical Spielberg fashion, he finds a way to out-stretch the series of events into an unnecessary two hour and twenty minute affair. By the closing moments you’ll be begging for the credits to roll and it’s an unfortunate reality. In addition, after a gripping opening sequence that works perfectly on all levels, the film finds itself completely fixated on Tom Hanks and his character, James Donovan. Consequently, all of the difficult circumstances surrounding the captured U.S. pilot are blatantly overlooked and make it extremely difficult for the audience to forge a connection when these time-sensitive negotiations begin. Clearly these blemishes prevent Bridge of Spies from being an instant classic, yet the film still manages to do a stellar job of entertaining the viewer.

In what has become a recurring theme with 2016’s lackluster collection of releases, Steven Spielberg’s Bridge of Spies culminates as another good, but certainly not great, title. The film is worthy of a viewing for its Oscar-caliber performances from Hanks and Rylance, but just make sure to temper your expectations.

GRADE: 4/5

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In Case You Missed It – January 2014

by MCDaveJanuary 4, 2014

Although the DVD and Video-On-Demand selections have been weak the past few months (December’s picks), January makes up for it in a big way. This month is loaded with some of my favorite films of the year, as well as a couple Oscar-possibilities. It was difficult to narrow down my top three picks of the month with a long list of worthy releases, but here’s what I came up with.

#1. Rush

Until the December release of David O. Russell’s Academy Award Best Picture contender, American Hustle, Ron Howard’s Rush spent a large portion of 2013 atop my favorite movies of the year. One could argue it was low the expectations I had upon entering the theatre, but in actuality it has everything to do with a dynamite performance from Oscar-hopeful, Daniel Bruhl, and a thrilling sports story superbly executed by its director. Formula 1 racing captured the attention of the entire world during the 1970s, and two of the fiercest drivers on the planet, James Hunt (played by Chris Hemsworth) and Niki Lauda (Bruhl), embarked on a legendary rivalry. Rush is far more than a high-octane racing movie, it has layers and depth that enable it to stand on its own as one of the finest sports dramas in years. It’s an absolute Must-See feature. (January 28th)

#2. Short Term 12

One of the year’s most tender, yet heartbreaking, films comes in the form of Destin Cretton’s directorial debut, Short Term 12. This unknown indie drama packs an enormous amount of emotion thanks to a genuine script and an unbelievable performance from Brie Larson. The gifted young actress is more than deserving of Oscar-notoriety, however, she appears to be on the outside looking in. Larson is far from the lone shining star in the film, the cast is flooded from top to bottom with authentic performances. In fact, supporting star John Gallagher Jr. even landed on my year’s Most Underrated Performances list. Watch as these twenty-somethings spend their workdays consoling and molding youth at a foster-care facility for at-risk children. It’s an eye-opening journey into the lives of our forgotten youth. (January 14th)

#3. Captain Phillips

The major consensus is Tom Hanks will find his way into the Best Actor race for his showing in this year’s true-story action adventure, Captain Phillips. This would mark the 6th time Hanks has been handed an Oscar Nomination, and he truly earns it once again. Captain Phillips follows a cargo vessel taken under siege by a band of Somali pirates. Through the guidance of their tactical captain, the vessel’s crew must work together to survive the ordeal. Director Paul Greengrass is best known as the visionary behind the second and third installment of the Bourne franchise, and here the action is equally as effective. Well paced and highly compelling, Captain Phillips is another strong effort from one of the greatest actors the world has ever seen. (January 21st)

Honorable Mention: There’s no shortage of other sensational selections finding their way to DVD this month. Two Sundance Film Festival entries that are both worthy of checking out are The Spectacular Now (1/14) and the gut-wrenching true-story of Oscar Grant in Fruitvale Station (1/14). As for some Oscar-Caliber movies, Cate Blanchett is a frontrunner in the Best Actress category for her fine role in Woody Allen’s Blue Jasmine (1/21) and there’s a few fringe players fighting to make the Oscar cut from Lee Daniels’ The Butler (1/14). Another rising Oscar contender comes in the form of a potential posthumous nomination for the late-great James Gandolfini in the romantic-comedy Enough Said (1/14). Horror fans have some interesting options arriving on DVD in January, Carrie (1/14) and the buzzed-about You’re Next (1/14) are available this month as well.

Geekscape Movie Reviews: Saving Mr. Banks

by MCDaveDecember 19, 2013

The Academy Awards is certainly vain. The voting body is continually enamored with movies about the history of cinema. Needless to say, Disney’s latest biographical feature, Saving Mr. Banks, which couples the legendary talents of Emma Thompson and Tom Hanks in the story of Walt Disney’s exhausting efforts to acquire the rights to Mary Poppins, flaunts it’s Oscar-baity agenda with dignified pride. My guess, the Academy will once again swoon over director John Lee Hancock’s historical account.

When Walt Disney (Tom Hanks) made a promise to his daughters in the 1940s that he would bring their favorite literary character to the big screen, no one could have imagined the struggles he’d endure along the way. After two decades of begging author P.L. Travers (Emma Thompson) for the rights to her famed character, Mary Poppins, Walt brings the financially strapped author to Los Angeles. While there, he must discover the secrets behind the Banks’ family and their whimsical nanny in order to entrust Mrs. Travers that her beloved character is in good hands.

John Lee Hancock has suddenly become the poster boy for sentimental biographical films. In 2009 he guided Sandra Bullock to a Best Actress statue alongside a Best Picture Nomination for his real-life adaptation of the Michael Oher story with The Blind Side. His knack for tugging at the audience’s heartstrings returns once again in his latest endeavor, Saving Mr. Banks. Yet, Hancock’s lucid game-plan isn’t the glue that holds this film together, rather it’s the Oscar-caliber performances from Emma Thompson and Tom Hanks that make it stick. With these two lifelong masters of their trade, we’ve been spoiled rotten, expecting nothing but greatness every time they appear on the screen. Luckily for Hancock, his duo delivers at the highest level imaginable, Hanks with his cheery friendliness and Thompson as an argumentative curmudgeon, which clearly elevates Saving Mr. Banks slightly beyond the realm of mediocrity.

Although the film is an indisputable success that will ultimately find itself in the awards season mix, Saving Mr. Banks is flooded with faults. I’ll preface by saying that the feature contains a story that isn’t overly elaborate, and nor does it need to be. However, along with director John Lee Hancock, writers Kelly Marcel and Sue Smith unfortunately milk everything they can out of this straightforward tale and transform the film into a ballooned 126-minute affair. Saving Mr. Banks meshes together two non-concurrent stories. One pertaining to the childhood of Emma Thompson’s character, and the other paralleling those experiences with her “present-day” struggle of relinquishing the rights to Mary Poppins. The portion of the movie that examines P.L. Travers’ youth becomes over-extended and nothing more than a weight on the film. Its purpose is understood, but its execution is lackluster. The “present-day” moments throughout Saving Mr. Banks are what the audience will love and remember. Unfortunately, these highlights are broken up in excess by a middling other half of the feature.

There exists a wondrous aura surrounding John Lee Hancock’s Saving Mr. Banks. It’s comedic elements are a bright complementing aspect to its dramatic nature. However, an abundance of sentiment and a slight mishandling of the story deter from the movie’s otherwise glowing attributes. But thankfully, Thompson and Hanks dazzle just enough to keep that spark alive.

GRADE: 3/5

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Geekscape Movie Reviews: Captain Phillips

by MCDaveOctober 8, 2013

It’s been more than a decade since Tom Hanks has landed a swoon-worthy kind of role for the Academy to recognize. With back-to-back Oscar wins in the Best Actor category for marvelous performances in Philadelphia and Forrest Gump, Hanks spent much of the 90s and early 2000s nestled comfortably at the peak of the awards season mountain. The brilliant artist returns in 2013 with a pair of highly anticipated true-story roles as Walt Disney in Saving Mr. Banks and Paul Greengrass’ self-titled Captain Phillips. As it appears, the stars have aligned once again and Tom Hanks is finally back atop the proverbial mountain.

Richard Phillips (played by Hanks) is a hard-nosed and dedicated Captain of the cargo vessel Maersk Alabama. On a typical voyage to deliver food and supplies around eastern Africa and the middle east, a band of Somali pirates hijack Phillips’ ship and unarmed crew. Desperate to keep himself and his team out of harm’s way, Captain Phillips demonstrates remarkable heroics throughout this trying ordeal.

Relentlessly tense and nerve-racking beyond belief, action guru Paul Greengrass summons one the most suspenseful movies of the year. Captain Phillips is a lengthy journey filled with highs, lows and just about everything in between. But rather than catering to an all-too-easy “good vs evil” approach implemented by many run-of-the-mill directors floating around Hollywood these days, Greengrass and writer Billy Ray mold together an honest and multi-layered film. Not only does Captain Phillips venture through the minute-after-minute terror experienced by the hijacked crew, the feature also dives deep into the desperate mindset of the vessel’s captors. The ambitious attempt to witness the entire story surrounding this historic event allows Captain Phillips to develop into a more authentic and believable thrill ride.

Despite crafting a captivating and gut-wrenching encounter, Greengrass misses the mark on a few key areas. For starters, the well-rounded director over-extends every single aspect of the film. He could have easily attained his goal by cutting many of the feature’s scenes in half. Whether it’s the intense bickering and power struggle between the pirates or the Red Light/Green Light back-and-forth by the Navy Seals team near the film’s conclusion, Captain Phillips is filled with anxiety-overkill and its clearly a deterrent. Furthermore, the movie’s third act rings all too familiar to last year’s Best Picture Nominee, Zero Dark Thirty. Therefore, being so fresh in our minds and far superior to this rehashed effort, Captain Phillips becomes a poor man’s version of Kathryn Bigelow’s hit … but still worth the price of admission.

Tom Hanks has always been a magnificent performer, and his role in the action/drama Captain Phillips reiterates that notion. It doesn’t matter if he’s winning Golden Statues or not, Hanks is one of the greatest actors of all-time. And once again, you won’t be disappointed with this one. If you can handle the anxiety and withstand the suspense, then you can’t go wrong with Captain Phillips.

GRADE: 4/5

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First Look At Tom Hanks As Walt Disney In ‘Saving Mr. Banks’

by Shawn MaddenNovember 6, 2012

Not too long ago we reported that Tom Hanks had been cast as Walt Disney in the upcoming Saving Mr. Banks. The film will follow Walt Disney’s fourteen-year courtship to acquire the film rights to P.L. Travers popular novel, Mary Poppins. Filming on the film began recently and an image was snapped of Hanks on set. Check out the first look at Hanks as Walt Disney.

Saving Mr. Banks will hit theaters Dec. 20, 2013

Source: Cartoon Brew

Geekscape Movie Reviews: Cloud Atlas

by MCDaveOctober 29, 2012

One of the highlights of this year’s Philadelphia Film Festival came in the form of Tom Tykwer and Andy & Lana Wachowski’s (The Matrix trilogy) epic sci-fi adventure Cloud Atlas. Based on David Mitchell’s award winning book of the same name, Cloud Atlas attempts to interconnect the entire past, present and future of human civilizations by weaving together multiple stories that span over six different centuries. In doing so, the trio of directors inherently offer a somewhat jumbled mess of concepts and ideas. But what a beautiful mess it is.

The best way to describe Cloud Atlas is to parallel it to a puzzle box. You see this complete and beautiful “big picture” that is pristine in every way imaginable. Each color delightfully complementing the other and the idea so flawlessly captured, it’s just … perfect. But similar to the movie, you open the box and the perfection is broken up into pieces scattered everywhere. Each of these pieces waiting patiently for you to put them in their proper order, waiting to serve their purpose to the bigger picture. Cloud Atlas is an enormous six-movies-in-one journey, it’s a puzzle. And for that reason, Cloud Atlas deserves every bit of your viewing attention. I firmly believe that it’s a story so grandiose that it’s virtually impossible to dissect and piece together the puzzle in only one viewing. And also for that reason, it not only becomes one of the most polarizing films in recent memory, but Cloud Atlas becomes a cine-phile’s dream project. One that I proudly accept. You can be assured that I plan on watching the remarkable two hour and 43 minute journey many times in my future.

As creatively profound and visually groundbreaking as Cloud Atlas is, the film is by all accounts mightily flawed. But sometimes blemishes can give off a large sense of character, and that holds true with this feature. I recall leaving the theatre somewhat perplexed by what transpired on screen and thinking to myself “there was no emotional punch, there was no shining moment”. And for a film of this magnitude, that type of impact is essential. For this reason alone, Cloud Atlas becomes an understandably displeasing adventure for much of its audience. However, lack of comprehension often leads to massive disappointment in all different kinds of art forms. I tried my hardest to look past this glaring fault and to place my focus solely on Tykwer and the Wachowski’s message of an interconnected history of humanity. Recollecting the film in this light, I can honestly say that Cloud Atlas is one of the most fascinating movies I have ever had the pleasure of seeing.

To truly appreciate the entirety of Cloud Atlas, you must first be consumed by each of its stories on their own. The film does a remarkable job of giving an absorbent amount of life to all of the different stories and making them feel extremely unique and disjoint, yet so entwined to a larger agenda. And while none of the feature’s long list of stars particularly stand out (except the underrated Jim Broadbent), Cloud Atlas and its numerous plot lines still serve their purpose and prove to be quite effective. Not only do the stories leave enough clues to unravel the mystery behind Cloud Atlas, they’re exceptionally entertaining and they help you to ease your way through the lengthy sounding duration.

Trapped inside of Cloud Atlas is a beautiful picture waiting to be pieced together. With the appropriate amount of time and effort, it can be. Be warned, Cloud Atlas is definitely not a movie for everyone. It requires all of a viewer’s attention and it demands a level of focus and thought that far exceeds the average Hollywood release. Therefore, we should both love and hate Tom Tykwer and the Wachowski’s for this ambitious piece of work. If you’re up for the challenge, there’s plenty of greatness hiding inside of Cloud Atlas. If not, please move along.

Rating: 4/5

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Tom Hanks Playing Walt Disney In ‘Saving Mr. Banks’

by Shawn MaddenSeptember 19, 2012

Some fantastic news for Disney fans today. Disney has announced that production has started today for the upcoming film Saving Mr. Banks, this film follows Walt Disney’s fourteen-year courtship to acquire the film rights to P.L. Travers popular novel, Mary Poppins.

Oscar winning actor Tom Hanks will be portraying the man behind the mouse himself in the upcoming film. This will actually be the first time we see the portrayal of Walt Disney on screen in a dramatic film. Actress Emma Thompson will be playing P.L. Travers, the Australian author behind Mary Poppins. Collin Farrell is also reported to appear in the film as Travers father. Most likely we will see him in make-up and flashback scenes I am assuming.

When Travers travels from London to Hollywood in 1961 to finally discuss Disney’s desire to bring her beloved character to the motion picture screen (a quest he began in the 1940s as a promise to his two daughters), Disney meets a prim, uncompromising sexagenarian not only suspect of the impresario’s concept for the film, but a woman struggling with her own past. During her stay in California, Travers’ reflects back on her childhood in 1906 Australia, a trying time for her family which not only molded her aspirations to write, but one that also inspired the characters in her 1934 book.

None more so than the one person whom she loved and admired more than any other—her caring father, Travers Goff, a tormented banker who, before his untimely death that same year, instills the youngster with both affection and enlightenment (and would be the muse for the story’s patriarch, Mr. Banks, the sole character that the famous nanny comes to aide). While reluctant to grant Disney the film rights, Travers comes to realize that the acclaimed Hollywood storyteller has his own motives for wanting to make the film—which, like the author, hints at the relationship he shared with his own father in the early 20th Century Midwest.

The film also features Jason Schwartzman, BJ Novak, Paul Giamatti, Bradley Whitford, Kathy Baker, Rachel Griffiths and many others. Saving Mr. Banks will be directed by John Lee Hancock (The Blind Side, The Rookie) based on a screenplay by Kelly Marcel. You should definitely expect this one to be one of those heart felt movies. A 2013 release date is expected but no specific date has been set.

Source: Examiner

TIFF 2012 Review: The Wachowski’s and Tom Tykwer’s ‘Cloud Atlas’

by thebigkahunaSeptember 15, 2012

Cloud Atlas is an epic. The nearly 3 hour film is directed by 3 different filmmakers, The Matrix helmers Andy and Lana Wachowski and Run Lola Run‘s Tom Tykwer. The film is packed with an equally impressive cast including Tom Hanks, Hugo Weaving, Halle Berry, Susan Sarandon, Jim Broadbent and Hugh Grant. But even with a deck stacked this heavy, is it enough to make Cloud Atlas an instant masterpiece?

The film spans roughly 400 years and follows a massive 6 story-lines in each period. The connecting through lines are the spirits (or souls) of each of the characters. The message is simple. Some spirits are destined to always find one another, resulting in a multitude of continued experiences, whether it be fall in love or be eternal enemies. The concept is great… but sadly it just doesn’t work well as a film. Or at least as this film.

The film is often difficult to follow, not unlike Richard Kelly’s equally complicated Southland Tales. And at 3 hours, its unlikely that I will dedicate any more of my life to viewing it again in the pursuit of further clarification.

As a film lover, a film doesn’t always have to be great. But for me to commit 3 hours to a film it had better be at least good. Cloud Atlas falters where so many student films falter – it doesn’t appreciate the length of time available to tell a story. 3 hours divided roughly evenly into 6 stories means that each story has about 30 minutes to get its message across. Slightly longer than a typical short film but not quite long enough for me to develop a deep connection with any single character, the majority of Cloud Atlas‘ storylines fall prey to falling just short of their intended goals. And ultimately the question that I had upon leaving the film was ‘why do I care?’

One of Cloud Atlas‘ own verbalized questions became resoundingly appropriate. “What is the ocean but millions of drops of water?” Perhaps the filmmakers hoped that the film, although not necessarily effective in each of its parts, would create a tapestry that would create a stronger and clearer whole. And maybe they’re right. If the film were told in a linear narrative it would easily fall apart and its parallel themes would be lost. Meanwhile, the dangers of having a non-linear storyline become a tool for projecting a deeper meaning but without the clarity to see it through can become an equally bad idea.

Aesthetically, both Tykwer and the Wachowskis nail the look of the film’s many narratives. Tyker took over the contemporary filmmaking and from what I understand handled four of the story lines. His vibrant and kinetic style is apparent in many of the film’s vignettes. His overall style is something to get lost in and I often forgot that I had been sitting for over 2 hours watching something with no real story to speak of. Meanwhile, the look of The Wachowskis’ futuristic dystopian city and world building are definitely Wachowski-esque. Of all of their credentials thus far, I’d say that the aesthetic energy most on display was most reminiscent of Speed Racer, as was the storytelling (for both good and bad).

It is not impossible to weave a huge number of storylines and characters together masterfully. Filmmakers have been attempting the Herculean task since D.W. Griffith’s Intolerance. But it would seem that Cloud Atlas would have been better left as a book or in a singular filmmaker’s hands. The film has 6 very distinct and interesting worlds each with its own aesthetic that each needed the ability and attention to be explored on their own. Unfortunately, Cloud Atlas seems to have too many moving parts, both in and behind the scenes, parts whose muddled movements result in one weighty and uninteresting epic.

Check Out The Six Minute International Trailer For ‘Cloud Atlas’!

by Shawn MaddenJuly 26, 2012

The first footage from The Wachowski’s and Tom Tykwer’s (director of Run Lola Run) Cloud Atlas has made its way online and looks utterly phenomenal. The adaptation of David Mitchell’s epic labrynth of a novel stars Tom Hanks, Halle Berry, Susan Sarandon, Keith David, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Wishaw, James D’Arcy and Zhou Xun.

The powerful, inspiring epic Cloud Atlas explores how the actions and consequences of individual lives impact one another throughout the past, the present and the future, as one soul is shaped from a killer into a hero, and a single act of kindness ripples across centuries to inspire a revolution

Cloud Atlas is set to be released on October 26, 2012.