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Doubts. It is they who overwhelm the mind when viewing "Cloud Atlas" and do not allow to decide what it is - another major failure or one of the most memorable stories of recent times. And all because the creators throughout the entire on-screen action operate with concepts that, in their totality, have already become somewhat alien to modern cinema and are taken for granted unless in Disney cartoons - kindness, love, hope, courage. Let at times it seems that uncompromising finally triumph and death, by custom, level everyone, but putting dots on “i” turns out to be premature, and a cliffhanger similarity comes in, justifying the presence of some kind of hope for the future. The creators stubbornly cling to the "humane" concepts in the hope of erasing the boundary between the past and the future and thus break through to the viewer's heart, but these attempts sometimes seem too naive, erasing even the tragic endings of some "stories."

A priori, you understand that in the stories shown, separated by decades and centuries, there is nothing special, and that the only thing that unites them is the idea of past memories and the repetition of other people's mistakes, but this idea remains unsure about trampling somewhere on the periphery of consciousness like a nasty insect. Linking novelly, in general, stories with barely noticeable memories, “deja vu”, acquiring the outlines of an old diary, once / somewhere heard composition, or unknown as buttons from a camisole preserved over the centuries, the creators try to put together the resulting bulky and shaky structure . The graceful-subtle idea of a sextet, carefully carried over to a space that is alien to her, is trying to make the film sound like a complete composition, which at times is still divided into discordant parts.

A lie typical of a movie screen, built in the "Cloud Atlas" to the rank of an absolute, to break the cover of Isis from which it means to be deeply disappointed not so much in the film as in yourself. All the stories offered and mixed up for a more vigorous action are trying to make people believe in them regardless of their mood and rhetoric, because the director's trio does not offer the viewer to break the window into the real world full of echoes of past lives, but does it for him, misunderstanding . After all, the picture generous with decorations and special effects subconsciously requires some kind of dynamic entertainment, and not a three-hour immersion in the exploratory study of interconnections that reject the existence of any constant of life. Although there is a malicious contradiction in this - if our life does not belong to us and is connected with future generations, does this mean that all our attempts to somehow change our own fate are fundamentally meaningless?

The triumph of the “truth-truth” and the animating feelings that are able to rush through the centuries in an unchanged condition, fatally affects some episodes, hindering the achievement of exaltation of the ideas that originated, about the possible monumentality of the film. It is clear that the creators wanted to maximize show all possible options for meetings and lost opportunities in different time parallels, making it very smoothly and elegantly, but these half-hints are lost in the three-hour timekeeping and constant layering of stories on each other. The only thing that remains unchanged is the multi-figure actor's work, which finds expression from lawyers / doctors of the past to shepherds and demons of the future. The screen images are good, but sometimes to the disgraceful they are ridiculous because of the make-up, the layers of which are at times more than the actors involved in the film. Yet, at Pumpker, it turned out to be better to make one Asian a European than that of Wachowski to turn the crowd of Europeans into futuristic Koreans.

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The Green Mile (1999) Movie Reviews.

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