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Capone believes CIRQUE DU SOLEIL: WORLDS APART is the most appropriate use of 3-D since AVATAR!!!

Hey everyone. Capone in Chicago here.

One could make a case (and look at me doing so) that CIRQUE DU SOLEIL: WORLDS APART is the finest and most legitimate use of 3-D since the format came back into style thanks to AVATAR. Now please realize that I'm talking about the nature of the work—as opposed to the quality—being well suited to the format. But the truth is, I had a blast watching WORLDS APART, a sort of Greatest Hits of the Cirque's Las Vegas productions, including O, Ká, Zumanity, Viva Elvis, Believe, Mystère, and even the Beatles tribute show Love.

The thread that brings these incredible productions in one movie is the "story" of Mia (Erica Linz), a woman who is drawn to a circus that has come to town and has different acts in various test. In the first tent, she spots The Aerialist (a trapeze artist played by Igor Zaripov), but when he vanishes after he falls from on high, she goes from tent to tent searching for him. In each tent is a different production, and after Mia checks if anyone has seen her aerialist, she watches their little show and moves on. But man, what about these shows. I've never actually seen a Cirque du Soleil production in person, but these brilliantly conceived, technically perfect performances are inspirational. And while the filmmakers don't often throw things at the camera, the scope and massive spaces involved in each show lend themselves brilliant to the depth of field advantages of 3-D.

Is the entire conceit behind Cirque du Soleil ridiculous? I guess some cynical bastards out there might think so, but for those of us who still get a thrill from awe-inspiring acrobatics, tricks of perception and gravity, and beautiful women in skintight body stockings, WORLDS APART seems to fit the bill quite nicely. I'm not even sure how you review a film like this. I can't exactly describe each set piece — that would be boring—but I can tell you that director Andrew Adamson (James Cameron is listed as executive producer, and I'm guessing his camera had a lot to do with this film getting made) tends to keep his direction simple, concentrating on getting as much of the image on screen and maintaining the massive scale of each performance. The artistry and athleticism fill the screen, and the 3-D makes it pop. If you're willing to open your mind, you likely have a great time with this unique wok.

-- Steve Prokopy
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