Up In The Air (15, 109 minutes)
Is it a soaring success or a baggage leaden disaster?
Where?
Empire Cinema, Poole
Plot?
Ryan Bingham (Clooney) has a job where he flies around America firing employees for cowardly bosses. But the emergence of a new work partner and love interest threatens to alter his comfy existence.
Thoughts?
Does George Clooney ever act, and become a completely convincing fictional character? Or is his on screen persona simply an extension of himself?
It’s an interesting conundrum, but luckily one that never threatens to overshadow this latest effort from director Jason Reitman (Juno, Thank You For Smoking).
Mainly because the film suits Clooney to a tee. Smooth, confident with a hint of self depreciation, it boasts a charmingly slick veneer
The opening scenes, where Bingham’s set routine is demonstrated in a series of quick, effective series of shots, is a key example. It all clinks perfectly into place. It never feels forced, uneven or unsure.
This gives the film a certain clean cut charm, and for the most part you can sit back and enjoy the craft and assured technique Reitman has brought to the table.
One potential problem with any Hollywood product however, is that it can feel a little cold, with no link to the real world, and can end up a pretty yet unsatisfying mess as a result. This also is fortunately not an issue here.
Bingham may work for a company who deal in human misery and rejection, but he is still, somehow, a character easy to embrace.
This is demonstrated by perhaps one of Clooney’s most affecting acting ‘moments’ yet. Near the end, while Bingham is confronted with a difficult relationship decision, Clooney twists his face into one of sheer pain and rejection. Seeing this at first is strange, almost awkward, but then you realize it’s simply because you actually care about the character.
This, despite Clooney seemingly playing the same experienced, smug, suave womanizer he always inhabits. But he somehow manages to dig a little deeper under your skin this time, and it makes all the difference.
Anna Kendrick as Clooney’s co-worker, also provides invaluable support, offering a welcome innocence and underlying vulnerability next to Clooney’s unrelentingly world weary attitude.
An essential element in sustaining the film beyond a simple tale of a man escaping the real world is Vera Farmiga and the relationship her character has with Bingham. She has the calculating cool of Clooney but seems somehow more distant- yet she stills creates a warm and moving chemistry with Clooney, making the ending have even more impact.
But this gear change from Bingham’s cocooned lifestyle to him becoming embroiled in a relationship comes off as Reitman wanting the film to be both satire and romantic comedy, and he can’t quite pull it off.
Unlike Thank You for Smoking, which flailed and lost your interest in its final act, this does maintains your interest, but instead asks you to accept that it is almost two movies pasted together. It’s an acceptable compromise, but it does sadly hold it back from classic status.
Verdict?
A slick and almost clinical comedy that still strikes up a gentle charm. (3/5)
Haiku?
Clooney always smug,
But not too grating this time,
Worth seeing indeed!
Go Further…
· About an hour into the film the projector broke and we had to leave the cinema. Therefore the rest of the film was watched in a poor quality, stuttering online format. This may have resulted in an over-harsh judgement of the film as a whole
·Sam Elliot, the owner of the world’s coolest mustache, makes a small cameo. It is brilliant. The mustache, not the cameo. The cameo is merely ok compared to the magnificent hairy caterpillar which resides beneath Sam’s nose.
·Danny McBride is not convincing dramatic actor. His role in this film convinced me of this fact.
Second Opinion?
Empire loved it…
http://www.empireonline.com/reviews/reviewcomplete.asp?FID=136159
Trailer?
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