An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.
A boy stands on a station platform as a train is about to leave. Should he go with his mother or stay with his father? Infinite possibilities arise from this decision. As long as he doesn't choose, anything is possible.
In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
Everything is connected: an 1849 diary of an ocean voyage across the Pacific; letters from a composer to his lover; a thriller about a conspiracy at a nuclear power plant; a farce about a publisher in a nursing home; a rebellious clone in futuristic Korea; and the tale of a tribe living in post-apocalyptic Seoul, far in the future. Written by
John Gardner's "Win, Lose or Die" is seen on the 1973 bookshelf of Luisa Rey during the conversation with Joe Napier. This book was first published in 1989. The same bookshelf contains The Defector by Howard Reynolds, which was published in 1987. See more »
[shivering beside the fire]
Oh, lonesome night. And babbits bawling, the wind biting the bone. Wind like this... full of voices. Ancestry howling at you, yibbering stories, all voices tied up into one. One voice differing. One voice, whispering out there, spying from the dark. The fangy devil, Old Georgie hisself. Mm. Now your ear up close, and I'll yarn you about the first time we met, eye to eye.
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When a montage is shown of all the characters the actors are playing, the font of the names changes with each time period. See more »
There can be little doubt that Cloud Atlas will become a classic that will be watched over and over again by its devoted followers, just like its predecessors by Stanley Kubrick and Ridley Scott. Despite the many questions I had in my mind when I left the theater and the moments during the film when I felt disappointed or confused, I knew this, and I have not stopped thinking about the movie and longing to be back in front of the screen.
It is easy to criticize this movie as some have done for being overly ambitious, pandering to low taste, being too simple or too complex, with too few actors or too many, or even for celebrating revenge violence against professional critics who write negative reviews. They may all be correct, but these critics will still put themselves in the same category as those that warned audiences against 2001 or Blade Runner. The truth is that Cloud Atlas is profound in its reach, its visual and acoustic impact, its mesmerizing flow and its completely ground-breaking storytelling, and movie goers will see it and feel it in their guts.
It is a movie that is a product of our age of internet-driven universal knowledge and vision, and the freedom we have to travel the world and jump between ages, genres, images and identities at our will. It reminds us that we are human and that we can still hear our heart beat, if we listen.
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