The Descendants Review

The Descendants

Directed by Alexander Payne

Released in 2011

If movies provide the ultimate escape, the success of writer-director Alexander Payne raises some questions. His films depict the frustrations of life through a witty, but unapologetically honest lens. Election admitted that the selfish prevail over the selfless. The two men in Sideways sipped fine, aged wine while their own aging lives descended to mediocrity. Payne’s latest film, The Descendants, ends on a note of optimism, but the hilly way there is littered with uncomfortable situations and harsh truths that carry loss, anger and ignorance. We have all lived in one of these scenes, whether as victim, aggressor or bystander. Perhaps the deserved distinction of this film and all of Payne’s works lies in how he captures moments we all know and feel, and without adorning the script with fake eloquence or resorting to caricature, sympathizes with both sides and reconciles them.

George Clooney has worked towards the role of Matt King in The Descendants for his entire career, but his arrival no less defies the suave bachelor archetype synonymous with his name. Clooney is a dad, and one with little confidence on how to raise his children or himself. The roles he played beforehand certainly offered no fathering tips. Passive and blind to his family’s needs, Matt must adapt his detached mentality to deal with a twofold crisis in his family. For one, a large parcel of virgin land on the Hawaii island of Kaua’i faces settlement. Calls of support from family real estate brokers and outcry from island natives clash. The product of random acts of dissemination, Matt has the final say if the land of his ancestors, dating back to Hawaiian royalty, will sell for a large sum. His comatose wife, thrown from a motorboat during a race, presents more pressing issues. Not only does the injury throw his wife’s fate into question and himself into the parenting spotlight, but other sources leak to him that she was not faithful. 

The curious question as to how any woman would cheat on George Clooney withstanding, Alexander Payne uncovers the rawest of feeling in realistic situations, just like us. In a breakout performance that may open doors for Oscar, Shailene Woodley, as daughter Alex, sobs in a pool, and the camera follows her under water as she unleashes a primal scream. Alex’s boyfriend Sid (Nick Krause) tags along as the family visits Matt’s in-laws to discuss serious matters, and he laughs in disbelief at the painful dementia of the grandmother. You just want to punch the kid; Robert Forster, playing the dad, kindly provides the knockout.

Heavy the film hits, it still aims for comedy. Like his dramatic scenes, Payne mines for laughs in the most banal of circumstances. Payne finds the way people run funny, as seen when Paul Giamatti shuffles down a hill in Sideways and here when Matt awkwardly sprints through a neighborhood. Matt’s youngest daughter Scottie (Amara Miller), the last remnant of (rapidly fading) innocence in the family, interjects with out-of-place comebacks and dirty words beyond her comprehension. Scottie turns depressed from her family’s troubles, and instead of offering words of comfort, her teachers and peers’ parents scold Matt for not containing his daughter’s pain. They say she scares their own children. When ignorance passes as wisdom, sometimes laughing at the fool is the only option. Ask Michael Scott from The Office.

These quirks and flaws of character either change or prove endearing as a method to cope. Sid’s initial idiocy may just be his bewildered tact after his own substantial loss. Alex’s verbal fistfights with her whole family slacken as she directs her rhetoric to those who have wronged her loved ones. And Matt, all bottled-up and ready to explode, lets loose at last on just about everyone, including his unconscious wife. He feels a catharsis in expressing how he actually feels, but evolves to control this outlet by leading an open life with the important people he has left. He takes ownership of what he never had, similar to his dilemma regarding the land entrusted upon him, the land of the family he appreciates but does not know. 

If there is any place for some soul-searching, Hawaii is it. Cinematographer Phedon Papamichael keeps the camera at eye level, capturing beautiful scenery with beautiful shots that immerse but do not canonize. These characters have lived here all their life, and love it they do, it is not a vacation vista but home, imperfect as any. Urban strips of Honolulu, while a far cry from South Central, are not tour brochure-material, grounding the land of paradise with locations that could be anywhere. In one of the many, nonintrusive voiceovers, Matt asks the rest of the world if they think “our cancer is any less fatal?” Pain knows no boundaries, in gorgeous places and to gorgeous people.

This film lacks a certain drive in the beginning, and takes a few plot points to start to congeal into the film I admire. It is nothing I can exactly place my finger on, but the dialogue picks up its wit and the actors truly explore their roles once they are given space to breathe. The slow setup puts the pieces in place, and only then can the artists on and off-screen form the melancholic portrait. It’s curious how this film escalates in form and precision alongside the characters as they mature from imperfect souls to as close to perfect as they have ever been. Both the film and the characters, one in the same, hit their peak right before the credits roll, and you wonder if — and really, really hope — they will continue to improve, even after we have stopped watching. 

Final Verdict:

4 Stars out of 5

Up In The Air Review

Up In The Air

Directed by Jason Reitman

Released in 2009

Some films need dazzling special effects to transport you to its world. Up In The Air does not because it takes place in our world. The joy and hilarity of everyday life is countered by the toil and crushing realization that each day is a step closer to the grave. Looming overhead all of this is the morose economic climate of today's world filled with unemployment and depression. No movie this year filled me with such distinct laughs or profound emotional awareness, often in a single scene.

The ironic thing was that I was ready to hate on this movie from the get-go. Jason Reitman, the director, has never been on my good side. Thank You For Smoking had its moments but Juno was one of the most overrated films of the decade. With the latter's case, however, I have come to conclude that all the blame rests on the swaying hips of Diablo Cody, who somehow won the Oscar for Best Screenplay for that movie and then churned out the abysmal Jennifer's Body. Reitman, on the other hand, is a pillar of talent, shown by his directing, writing (along with Sheldon Turner) and producing of Up In The Air. He will garner a sweep of awards during Oscar season and deservedly so.  After seeing this film I wondered why the hell he did not write Juno; underneath the grating dialogue was a sound tale that could have been even better.

Nonetheless, Up In The Air will hit close to home for many. It does not hide its recession-era setting:  job loss, financial troubles and even suicide are general themes. However, this film is a great comedy with romantic elements; labeling anything of this caliber a "romantic comedy" is a disservice. George Clooney plays Ryan Bingham, a white collar man who fires people for a living. He spends 270 days of the year away from home, he does not have a wife nor ever wants one and has a secret desire to reach 10 million frequent flier miles, a feat that he would be the 7th in the world to reach. His conservative approach is foiled when the young Cornell grad Natalie Keener (performed by Anna Kendrick) proposes the idea of digitizing the firing work method through computers, making Bingham's job obsolete. She is supported by the boss (Jason Bateman in an unlikable character that you still love) but, to make things interesting, he has her tow along with Bingham to see if his method is still efficient. Along the way, he runs into Vera Farmiga's character, Alex Goran, who somehow is an exact replica of himself but, as she says, "with a vagina." They fall for each other but in their own, mutually detached way. Bingham finds marriage pointless, at least at the outset....

The acting is probably the best ensemble cast of the year, with George Clooney leading in his best performance yet. A confident, energetic man grows increasingly insecure as loneliness and age slowly pervade his core. He is able to fire people with a grace that he declares is better than anyone else yet cannot confront his estranged family. The two female leads in this film are also excellent, Kendrick and Farmiga. Anna Kendrick has been known from the Twilight films but she redeems herself in this fantastic role. She comes across as a spoiled brat at first but slowly loosens up as she realizes what is truly important in life. Meanwhile, Vera Farmiga, who was fantastic in The Departed, brings her sexy, seductive allure to yet another role, her finest yet. Alex is the same as Ryan in their "philosophy" of life. This thought process revolves around a certain obsession over "elite access" that their frequent flying compensates and an outright disdain for commitment. I dare not spoil any of the story but a few events in this film really hit you hard in the gut. I am not kidding when I felt a physical, internal reaction after a certain scene. That in itself is a feat of emotional storytelling.

Of course, Up In The Air is a comedy in a sense as well. There are many laughs to be had and they perfectly compensate some of the gloomier scenes. Danny McBride is the future brother-in-law for Ryan Bingham and he naturally exudes humor. Zach Galifianakis makes a cameo in the beginning as an example of an enraged employee who gets fired. His tantrums prove entertaining, if pathetic. The main characters themselves banter, stereotype and bicker, all of which prove hilarious. This is all comes down to the fact that this screenplay is of the highest caliber. Usually movies that are written well express it through their actors but this one is different:  you feel the greatness of the actor's performances as well as the supremacy of the script coexist, one from another. You will leave the theater thinking of the impact this film made on you in both its performances and its superb writing, an extremely rare achievement. The characters do not speak in elevated, unrealistic manners but in a plausible fashion, though we certainly wish we had the suaveness of Mr. Clooney in oratory. A touching, and somewhat biting, scene in which Bingham and Keener fire J.K. Simmons' character, Bob, shows the quality of all the aspects of this film at once. He shows pictures of his two children to the two and asks what can be done with them. Keener intervenes for she feels that she, a newbie at the time, can take on these tough situations. Bob tears her apart as she, not purposely, insults him. However, Bingham shows his expertise as he cools the situation off by encouraging Bob to follow his dreams, using plenty of amusing analogies all the way. The full effect is reserved for the film itself but even after recollecting the scene in my memory I recalled its brilliance. For Film Writing 101, there is no better current example to analyze than this film.

Up In The Air, as you can tell by now, is a superb film. The directing, acting and stellar screenplay all combine to create one of the funniest yet poignant cinematic experiences in recent memory. This film crept up and surprised me. It surprised me that I was regaled and hurt at the same time. It surprised me that Jason Reitman, a director I had no interest in before, created the movie for our current time. Hey, it surprised me that Sam Elliott appeared, in full mustachioed form, in an appealing cameo. But, most of all, it surprised me that Up In The Air's slow takeoff ascended to such a smooth, personal ride. I felt like I knew more about myself after watching this and, for that reason, I never wanted to touch ground.

Final Verdict:

5 Stars Out of 5

Fantastic Mr. Fox Review

Fantastic Mr. Fox:
Directed by Wes Anderson
Released in 2009

Animation has always carried a stigma of only catering to a juvenile audience. From Saturday morning cartoons to Disney feature films, younger children seem to always be the only group of people meant to watch animated movies or TV shows. This thought process has changed, especially over the past 15 years, with the most consistent movie developer in the business, Pixar, and crude shows like South Park and Family Guy. It is very rare, however, to see a veteran of live-action cinema forgo flesh and blood and instead opt for a full-length animated film. In stop-motion, clay animation no less. Wes Anderson took the risk and it paid off with Fantastic Mr. Fox, one of the best films of the year that stands as great, mature entertainment while still being a fun time for the younger crowd.

Anderson, known for his films with plots centered around dysfunctional families, takes his trademark style and brings it to stop-motion animation. His quirks and acting regulars such as Bill Murray and Jason Schwartzman are all here yet he does not rest on his laurels for he innovates on a formula some were calling stale. There are no slow-motion, drawn-out scenes (or two, or three...) but everything that worked with him is still in place and improved upon. Fantastic Mr. Fox is Mr. Anderson's funniest movie yet, blending humorous character appearances with quality dialogue. For example, when trying to communicate with a lone wolf in the distance and after exhausting his skill in English and Latin (he names many animals in the film by their scientific name), Mr. Fox asks a wolf something in French and explains, "I'm asking him if he thinks he's in for a hard winter." This is the most accessible Anderson film yet, and anyone who does not typically like his work will appreciate this film while fans will downright adore it.

Based off the Roald Dahl children's book of the same name, the story takes liberties with the source material which is no concern, especially considering Fantastic Mr. Fox is by no means a sacred, lofty title. The general premise is that Mr. Fox steals chickens, ducks, turkey, and hard cider from the three wealthy farmers of the area with his wife, Mrs. Fox, but then vows to stop when they barely escape a close encounter. Being the "wild animal" he is, he betrays this promise years later and starts stealing again, much to his wife and the farmers' dismay. The farmers, Boggis, Bunce and Bean, put all their effort to capturing the fox and hold the family under siege while the animals work out a solution. It is a simple story and provides a very satisfying, uplifting conclusion.

The cast gives the characters human behavior behind each manufactured figure. George Clooney offers his smooth voice as the title character while Meryl Streep plays his wife. The two Oscar-winning actors have great chemistry as Mr. Fox serves as the adventurous type while his wife just wants to settle down in a life of safety. Their son, Ash, voiced by Jason Schwartzman, is the best character as he constantly scowls like a typical hormonal teenager while secretly wanting attention from his parents. The subject for Ash's jealousy is in his cousin Kristofferson who lives with the Fox family for awhile. He is everything that Ash is except better in some way: a better athlete, student, fighter, lover, etc. Played by Eric Chase Anderson, brother of Wes, Kristofferson is suave and likable: it is no wonder that only Ash has any problem with him. The legendary Bill Murray plays Badger, a lawyer, and Owen Wilson makes a short appearance as the coach giving the "simple" guidelines on how to play "Whackbat," the imaginary, head-spinning sport of the creatures. Willem Dafoe is sly as the dirty, dancing rat and Wallace Wolodarsky, another Anderson staple, plays the clueless, loyal assistant to Mr. Fox, Kylie. Finally, Michael Gambon, Dumbledore himself, lends his recognizable voice as the film's primary antagonist, Bean. The cast is well-rounded and excellent overall, with the old and new in Anderson's world united for his best creation yet.

As stellar as the voice talent is, the art style is where this film really shines. With figures from the U.K.-based puppet company Mackinnon and Saunders, everything has an organic look that gives each figure emotional weight while still preserving the rustic charm and humor that they all have. The fur on each of the puppet's faces rustle and quiver during close-ups while remaining static in others. Obviously, attention to such minute detail was not going to be paid to each, distant shot but this gives the film its welcome, quirky feel. A storybook aura definitely pervades the whole movie, with hand-drawn murals serving for most of the bucolic backdrops. Shots range from zoomed-in captures of facial expressions to scrolling, detached pans of the animals cavorting. This truly is an innovative, original film in many aspects and its direction and cinematography are the leading reasons why. A great soundtrack also accompanies the action with a few tracks by the Beach Boys as well as superb use of the Rolling Stones' "Street Fighting Man" in a key scene. If there is a reason why Fantastic Mr. Fox is one of the best films of the year, then it is certainly its style and new approach to animation.

Like any great film, there is a message lying underneath. The correlation between humans and animals (we are all animals, technically, after all) serves as a concealed foundation for most of the action. The debonair Mr. Fox is as sophisticated as James Bond yet engulfs his food like the vicious creature he is. On the contrary, the three rich farmers rake in huge profits yet commit literally their entire lives to bringing down a measly fox while Bean's disgustingly ugly son shoves his face with food and watches the events unfold on TV. There is a look into the human psyche in this film, funnily enough, that is not only pro-nature but showcasing the stupidity in some and brilliance in others. Anyone can be a Mr. Fox if they know what matters most in their life, even if it takes a near-death experience to reveal it. Further reinforcing this human-animal comparison point is the constant switching of titles in each scene, sometimes listing how much time has passed in "fox years" opposite human years. Action moves faster in the fox world (about 2 human years equals 12 fox ones) and this motivates the animals to get the most out of their life instead of eating 12 chickens a day like fat old Boggis.

Fantastic Mr. Fox lives to its namesake and is truly fantastic. The stellar voice acting and art style combine to create a unique experience that is one of the better comedies of year while still being animated. Any age group will enjoy this film, though different ages will obviously get different experiences. Children will be fascinated by its looks and like the characters while the older set will laugh at most of the jokes and appreciate the care that has been placed on every detail. This film also has one of the best censored scripts ever, with every curse word replaced with "cuss." It seems gimmicky at first but its abundance makes it friendly for the younger crowd while giving enough hints to know what the animals are really saying. And if there is anything that this film is trying to get across, it is that we are all wild animals in the end.

Final Verdict:
5 Stars Out of 5

The Men Who Stare At Goats Review

The Men Who Stare At Goats

Directed by Grant Heslov

Released in 2009

"The Men Who Stare At Goats: A Film By The Coen Brothers."

That is actually not true, like many parts of the film, but it might as well be. This movie has as much Coen Brothers quirkiness and humor as The Big Lebowski. It can be very uneven at parts but, in the end, The Men Who Stare At Goats is an enjoyable ride.

Based off a book by Jon Ronson and directed by Grant Heslov (a producer and writer of Good Night, Good Luck), The Men Who Stare At Goats is a strangely named film about the story of  Bob Wilton, played by Ewan McGregor, an Ann Arbor journalist who, after being dumped by his girlfriend, is seeking for reckless adventure. He finds it in Kuwait when he meets Lyn Cassady, George Clooney in a mix between his nutty Burn After Reading character and the chill Danny Ocean from the Ocean's series. Bob heard of Lyn back in the States when he interviewed a supposed "super soldier" who had psychic powers. He mentioned Lyn as being the best of the best, someone able to stop a goat's heart from beating by merely staring at it. When Bob and Lyn go into Iraq on a joint effort, they run into kidnappers, a Coen's staple, and must escape. Flashbacks are also shown in between the current day action, such as a hippie Lyn Cassady receiving training from Bill Django, basically an aged version of The Dude played by Jeff Bridges. The similarities between this character and The Dude in The Big Lebowski are the main reason why this movie seems so akin to a Coens film, though the general vibe it has definitely attributes to this. More plot and events develop as the movie progresses, but, much like the state of many of the character throughout the film, it all seems to be under the influence of questionable substances.

Kevin Spacey makes an all-too-short appearance as Larry Hooper, a soldier with a grudge against Lyn and Bill. His deadpan delivery is a bright spot of the film and the ratty moustache he wears also ends up being one of the film's best jokes. The title of the film can be seen as a joke in itself as well. The psychic powers are never fully revealed or shown besides a few questionable occurrences. There is no denying that the title really draws in the passerby though. Kudos to the marketing team then. The movie also claims some of the events to be true without asserting any proof. Some people have been bothered by this but I find it humorous as well as drawing yet another parallel to the Coen Brothers. Their masterwork Fargo starts with the line "THIS IS A TRUE STORY," even when the entire story was a fabrication of Joel and Ethan's mind. The Middle Eastern setting makes The Men Who Stare At Goats a more debatable story, though it is almost certainly false. 

When looking at The Men Who Stare At Goats from the bigger picture, it does not leave the brightest impression. The story was jumbled and the characters never were fully-developed. However, the fun in this film lies in the minute-to-minute scenes. Kevin Spacey giving Clooney a "death palm" and George's hilarious reaction to are where the film finds its strengths. The Dude (I cannot call him anything else), old and overweight, with a ripped open shirt flying a helicopter while on LSD is priceless in itself. McGregor's narration can be a bit bland at times but his final scene is a good parody, or realization, of the film's events. I certainly recommend any Coen Brothers fan to see The Men Who Stare At Goats. Some may be left flabbergasted but that is the point. It was a wild acid trip while it lasted: you may not remember all of it but you can recall it being a fun ride. 

Final Verdict: 

3 Stars Out of 5