Critic Reviews



Based on 45 critic reviews provided by Metacritic.com
As inventive narratives go, there's outside the box, and then there's pioneering another dimension entirely, and this massive, independently financed collaboration among Tom Tykwer and Wachowski siblings Lana and Andy courageously attempts the latter.
Tom Hanks' appearances come across like scene changes between unfunny sketches on 'Saturday Night Live.'
Slant Magazine
Its ideas are paralleled, its themes twinned, sometimes breathlessly, sometimes fatuously, into what may be described as a 164-minute pop song of seemingly infinite verses, choruses, and bridges. Perhaps expectedly, it soars as often as it thuds.
Boxoffice Magazine
The movie version has the exciting and challenging parts down but the moral awakening it so strenuously wants us to experience remains beyond its reach.
Not quite soaring into the heavens, but not exactly crash-landing either, Cloud Atlas is an impressively mounted, emotionally stilted adaptation of British author David Mitchell's bestselling novel.
Most viewers are likely to be impressed more by the magnitude of the effort than the magnificence of the effect. Cloud Atlas is a Terry Gilliam movie without the kinks, a Wong Kar-wai film without the smoky dreamscape, a time-and-Space Oddity that remains frustratingly earthbound. Put it another way: this is no "Speed Racer."
The Playlist
Too long by at least a half hour, and both dull and repetitive as it goes on, Cloud Atlas reaches for envelope-pushing storytelling but never delivers on its promise.
Tykwer and the Wachowskis' other twist on this karmic hokum - to cast each of their actors in multiple roles across the stories, regardless of age or race - is less successful.
The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
L.A. Weekly
A manifesto in the form of an enormously budgeted quasi-sci-fi epic, Cloud Atlas is evidently personal, defiantly sincere, totally lacking in self-awareness, and borderline offensive in its gleeful endorsement of revenge violence against anyone who gets in the way of a good person's self-actualization. The rest of the time, it's just insipid, TV-esque in its limited visual imagination, and dramatically incoherent.

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