Up in the Air

[Ezee E]

Trailer (http://www.theupintheairmovie.com/)


The trailer is somewhat indicative of the movie, but shows none of what I predict MC will dislike about the movie.

George Clooney is wonderful in this though.

[Dukefrukem]

I love this trailer.

[NickGlass]

The trailer is somewhat indicative of the movie, but shows none of what I predict MC will dislike about the movie.

Oh, of which there is so much! What could you ever be talking about in particular? The hokey set-ups, the risible affectations, or the miscalculated messages? Or maybe there were certain scenes? Was it the ridiculous J.K. Simmons firing scenario that switched from acid to sugar in one implausible moment? Or the scene where he has to talk a guy with cold feet into marrying his sister? Or how about every moment of the last 30 minutes. How deliciously, and fatuously, ironic!

Oh, or maybe it's the complete narrative and character convenience--contrived moments sticking right out of the inorganic screenplay. Oh, I know, it's the fact that, in order to make the character development go down just that much smoother, George Clooney's Ryan Bingham is also a sort of motivational speaker, therefore serving a platform to spout his philosophy--and milk it THREE TIMES. Therefore, if you don't understand his "deep" and "alternative" life philosophy from his voiceover or the overexplicit dialogue (from little miss pscyhoanalyst!), you can find it packaged nicely here. The film does all the thinking for you.

Or maybe it's that the whole film stunk of putrid opportunism.


George Clooney is wonderful in this though.

I found the first half of his performance flat and the second unsurprising. He's still moderately charming, with that sideways tilt of the head and smile, but there's nothing special going on besides the obvious stunt casting. I was also thoroughly disappointed by Anna Kendrick--who I enjoyed in Camp and Rocket Science (two films I don't even like). Vera Farmiga was fine, though--therefore I'm not surprised she's getting the least amount of attention.

[Ezee E]

Vera Farmiga will one day get noticed in one of her roles.

[MadMan]

The trailer is pretty damn good, actually. I have faith this will at least be solid, and Clooney is usually reliable. In other words, I'm going to ignore NickGlass :P

[Pop Trash]

The trailer is pretty damn good, actually. I have faith this will at least be solid, and Clooney is usually reliable. In other words, I'm going to ignore NickGlass :P

That's a solid way to get through life. ;)

[MadMan]

That's a solid way to get through life. ;)Nick is a good poster, but sometimes I think he takes movies too seriously. In the end though, I trust my own opinion-although I'm willing to listen to others, of course.

[chrisnu]

This was pretty good, far from great, and not sure why it's getting this much awards buzz.

[Boner M]

Why the low Adventureland score, chris?

[chrisnu]

Why the low Adventureland score, chris?
It would be even lower if I didn't like the characters. It's so rote.

[Fezzik]

It would be even lower if I didn't like the characters. It's so rote.

Rote appears to be the Match-Cut word of the month.

[Boner M]

Rote appears to be the Match-Cut word of the month.
It's already describing its own repeated usage.

[MadMan]

WTF does Rote even mean? And no I'm not looking it up :P

[number8]

This was pretty good, far from great, and not sure why it's getting this much awards buzz.

I think this is the perfect description for it.

[Fezzik]

I really liked this. Award worthy? Not sure, but all three principals were very good (I wanna give Anna Kendrink like 80 hugs, she's adorable in this).

I really liked the script, which was funnier than I expected.

Clooney was indeed very good in this. There were some too-cute, too-obvious moments, but I liked it a lot.

[Milky Joe]

I really liked this. Award worthy? Not sure, but all three principals were very good (I wanna give Anna Kendrink like 80 hugs, she's adorable in this).

I really liked the script, which was funnier than I expected.

Clooney was indeed very good in this. There were some too-cute, too-obvious moments, but I liked it a lot.

Basically, yeah. Pretty good music, too. There was also the great Zach Galifianakis, a good choice for the opening, and a nice understated role by Danny McBride. Like Thank You For Smoking and Juno, I don't see why anyone would hate this.

[NickGlass]

Like Thank You For Smoking and Juno, I don't see why anyone would hate this.

Quite a bit has been written to show why people hate at least one of these three.

[Milky Joe]

Quite a bit has been written to show why people hate at least one of these three.

Yeah, and I don't get it--for any of them. For instance, I disagree with pretty much everything you wrote about this film. What exactly is "opportunistic" about the film? Because it's about people losing their jobs in a time in America where... people are losing their jobs? Are you that cynical?

[Watashi]

I was expecting total mehsville from this film considering Reitman's bland Thank You For Smoking and keep-it-away-it-burns Juno, but I was surprised how easy it went and it worked best as a simple character story and fell flat when it tried to juggle subplots and over-generalized plot mechanics. I can see why it's getting Award buzz. It has Clooney spouting self-explanatory philosophies on life. The film basically took his character from Intolerable Cruelty and transported him into the world of The Terminal.

[Pop Trash]

Good stuff. Definitely made me reflect on my own life. It all goes down easy which might make it a bit safe or "middlebrow" but, whatever, it's enjoyable and meaningful. I honestly didn't see the "twist" coming. I'm glad they didn't make it so on the nose ironic that...
Clooney gets fired at the end of the movie. I was totally waiting for that eye-rolling moment but thankfully it never came. That Farmiga was married seemed much less scripted and plausible to me.

The first half had a lot of the pitter patter Hawks-esque dialogue similar to Juno (which I probably liked more than most of the M.C.ers) but minus the pop culture stuff.

[eternity]

Quite a bit has been written to show why people hate at least one of these three.
And all of those words all can be summed up to "I don't like hipsters so I will judge the whole movie."

[ledfloyd]

And all of those words all can be summed up to "I don't like hipsters so I will judge the whole movie."
bullshit. a film can be hip without rubbing your face in it, in addition to being empty and overly precious.

[eternity]

bullshit. a film can be hip without rubbing your face in it, in addition to being empty and overly precious.
Get rid of that stupid fucking ending and there's nothing precious about it. It's the exact opposite of empty and it just throws itself in your face, but doesn't quite rub.

[B-side]

Oh, of which there is so much! What could you ever be talking about in particular? The hokey set-ups, the risible affectations, or the miscalculated messages? Or maybe there were certain scenes? Was it the ridiculous J.K. Simmons firing scenario that switched from acid to sugar in one implausible moment? Or the scene where he has to talk a guy with cold feet into marrying his sister? Or how about every moment of the last 30 minutes. How deliciously, and fatuously, ironic!

Oh, or maybe it's the complete narrative and character convenience--contrived moments sticking right out of the inorganic screenplay. Oh, I know, it's the fact that, in order to make the character development go down just that much smoother, George Clooney's Ryan Bingham is also a sort of motivational speaker, therefore serving a platform to spout his philosophy--and milk it THREE TIMES. Therefore, if you don't understand his "deep" and "alternative" life philosophy from his voiceover or the overexplicit dialogue (from little miss pscyhoanalyst!), you can find it packaged nicely here. The film does all the thinking for you.

Or maybe it's that the whole film stunk of putrid opportunism.

I found the first half of his performance flat and the second unsurprising. He's still moderately charming, with that sideways tilt of the head and smile, but there's nothing special going on besides the obvious stunt casting. I was also thoroughly disappointed by Anna Kendrick--who I enjoyed in Camp and Rocket Science (two films I don't even like). Vera Farmiga was fine, though--therefore I'm not surprised she's getting the least amount of attention.

This pretty much covers it. It's hard not to get at least a tad charmed by the whole thing, but it really is just a mediocre, occasionally flat-out bad film. It rarely feels genuine and every moment of revelation is so calculated, contrived and utterly predictable it leads to little more than an eye roll.

[balmakboor]

I thought this was terrific. You hear people say, "They just don't make'em like they used to." Well, the smart dialog and natural charm and get out of the way direction made this feel like a solid bit of Hollywood craft from the '40s.

Also, as a 47-year-old who has been twice down-sized, the movie felt very familiar and poignant.

I was much more of a fan of Juno than most around here. I have a sexually active teenage daughter (yeah, she talks to us about everything) and related with that movie as well. But, with this movie, I think Reitman has really grown up as a director.

[ledfloyd]

for about an hour i was thinking 'this isn't horrible, this isn't great' but the last half hour really was quite bad. it just feels poorly written. the dialogue doesn't snap as much as it wants to (except for the line 'kind of like firing people over the internet' if only the amount of thought and execution that went into that joke had went into the rest of the film).

i agree with a few of nick's criticisms. making clooney a public speaker seems like an easy way to shoehorn in his personal philosophies. and yes, having real people play the people being fired strikes me as opportunistic, the treatment of the economic crisis in general feels shallow, and the j.k. simmons firing borders on insulting, considering many of the members of the audience will have been in the same place.

it's not as saccharine as it could've been, or as i was expecting it to be, but it was poorly written and unmemorably directed.

[balmakboor]

The j.k. simmons firing is probably what won me over the most. How he'd given up his dreams to spend his life in an office is something so close to home for me and it is easy for me to see how merely being reminded of that fact would offer comfort and a sense of hope.

[number8]

I must be cynical. The JK Simmons scene struck me as just a way to show how silver-tongued Bingham really is. I suppose some people took his advice as sincere. I didn't. I thought he tricked Simmons into calming down using quite a manipulative logic.

Cooking? Realistically, I see only two outcomes for that scenario: either he follows his dream and his family is put to the streets, or an hour later he realizes he's just been swindled and goes to look for another office job.

[balmakboor]

I must be cynical. The JK Simmons scene struck me as just a way to show how silver-tongued Bingham really is. I suppose some people took his advice as sincere. I didn't. I thought he tricked Simmons into calming down using quite a manipulative logic.

Cooking? Realistically, I see only two outcomes for that scenario: either he follows his dream and his family is put to the streets, or an hour later he realizes he's just been swindled and goes to look for another office job.

I agree with you and disagree with you. I'm sure there is an element of smoothtalk going on there from Bingham. And Simmons will certainly have to face the somber reality of trying to feed his family as a cook (that sounds kinda funny). But, I fully understood how Simmons could turn on a dime from despair to hope after being fed that line.

[NickGlass]

As I mentioned, I found the scene to be quite hokey--it was the turning point for me, when I really saw the wheels grinding in the screenplay and what Reitman was actually going to try and inflict on the audience. I simply could not swallow it.

And I don't think the easy answer is cynicism. I just believe the filmmaking (essentially Reitman's screenplay/direction) is dangerously in-tune with the deceptively-feel-good-for-a-moment bullshit Bingham spins; Reitman mistakes these sooth-talking segments for genuine appeal and sentiment--and therefore falsely plays it. The film nearly invites plausible, frighteningly realistic scenarios and then wishes them off to LaLa land. It's brutally frustrating.

Frankly, though, if I ever get laid off, I hope I'm not single--because, you know, the ultimate message of the film is that everything will be okay if you're happily married. I'm being reductive sure, but isn't that Reitman's stock and trade?

[Melville]

I'm in total agreement with Nick and Derek. This movie blew. Everything about it, from the progression of each scene to the dialogue to the character arcs, was just so obvious and shallow in its construction. Awful.

[B-side]

I'm in total agreement with Nick and Derek. This movie blew. Everything about it, from the progression of each scene to the dialogue to the character arcs, was just so obvious and shallow in its construction. Awful.

Another voice of sanity. You and me, Melly. I feel like we're making a connection. A deep connection. You make me aroused is what I'm trying to say.

[balmakboor]

Frankly, though, if I ever get laid off, I hope I'm not single--because, you know, the ultimate message of the film is that everything will be okay if you're happily married. I'm being reductive sure, but isn't that Reitman's stock and trade?

Since so many who get laid off in the movie have it tough precisely because the have so much baggage -- so many mouths to feed -- the movie is arguing just as hard for the value of not have a family in hard times. A guy could easily drop everything and become a cook if all he had to worry about was himself. The movie sees marriage and family as a double-edged sword during an economic downturn. Not the single edge you are suggesting.

[Melville]

Another voice of sanity. You and me, Melly. I feel like we're making a connection. A deep connection. You make me aroused is what I'm trying to say.
:lol: You make me disturbed in a wonderful way. No, wait, scratch that 'wonderful way' part.

[B-side]

:lol: You make me disturbed in a wonderful way. No, wait, scratch that 'wonderful way' part.

I wanted to go farther, but I'm testing your boundaries.:D

[ledfloyd]

I'm in total agreement with Nick and Derek.
:|

i actually went back and read through the thread to see if derek had posted...

[Melville]

:|

i actually went back and read through the thread to see if derek had posted...
Sorry about that. His thoughts were in a different thread:
http://www.match-cut.org/showthread.php?p=224589#post22 4589
But I was mostly just referring to the extent of his dislike, rather than his specific thoughts.

[ledfloyd]

Sorry about that. His thoughts were in a different thread:
http://www.match-cut.org/showthread.php?p=224589#post22 4589
But I was mostly just referring to the extent of his dislike, rather than his specific thoughts.
oh, i thought you were just calling me derek again.

[Melville]

oh, i thought you were just calling me derek again.
Oh, I forgot about that. No, that was just a match-cut glitch, which I've noticed at least once before, and this was unrelated. No cause for concern.

[ledfloyd]

yeah, so, awful movie. i am going to eat my hat if this gets a best adapted screenplay nomination.

[balmakboor]

yeah, so, awful movie. i am going to eat my hat if this gets a best adapted screenplay nomination.

Are you kidding me? Worthy or not, this baby is going to win the screenplay Oscar.

[Ivan Drago]

Are you kidding me? Worthy or not, this baby is going to win the screenplay Oscar.

Either that or Precious.

[NickGlass]

Either that or Precious.

Nah, I'm pretty sure Up in the Air has this locked up.

[Adam]

Went and saw this tonight and dug it

I think if you can just get past the occasional corniness and the fact that nothing especially revelatory is said about our times, you will see this for the top-notch populist entertainment it is. Lot of folks are hating on the movie for using Clooney's character to lazily take easy shots at the current state of things, but that's unfair, I think, because it seems like Reitman intended this as more of a character piece and a star vehicle than an almighty condemnation. Sure, it's critical of faceless, impersonal corporate entities, but it's not taking a stand against anything any more surprising than that. It isn't even out-and-out saying that, no matter what, everything will be okay if you have a significant other. That's just how Bingham sees it at the end because he's finally become so disillusioned with his own, detached life and is incredibly lonely. And we're clearly not always supposed to be on the guy's side through all this. Number8 nailed it on the JK Simmons scene - that's Bingham at his most despicable, not his most caring

All the performances were very solid in my book, especially Clooney's. The whole third act, starting with the return to Wisconsin, is probably my favorite because it easily has the most genuine moments. Loved everything with the wedding and Clooney's old high school and whatnot. And the final scene is almost brilliant

I would be cool if this won an oscar, considering some of the other films that could take it home

[Chac Mool]

This is a good movie -- well-written script, deft direction that cleanly alternates between humor and pathos, excellent performances (particularly when Clooney and Farmiga work together), timely themes and an ending that, despite being perfectly logical, I was surprised to see in a Hollywood movie.

That being said, while there are very few things wrong with it, this is not a great movie, since neither the themes nor the filmmaking break new ground. It's deserving of praise, but I don't see why it's getting so many accolades.

[NickGlass]

Who wants to laugh along with me through this interview:

http://nymag.com/movies/features/62896/


Jason Reitman: "Well, I don’t think he’s going to like my fourth film any better. My films are polarizing. I don’t want to tell my audience what to think."

Bwahahaha.

Also, this is worth peeking at: http://www.thelmagazine.com/TheMeasure/archives/2010/01/15/oscarbation-air-reitman-crash-lands#more

[balmakboor]

Who wants to laugh along with me through this interview:

http://nymag.com/movies/features/62896/



Bwahahaha.

Also, this is worth peeking at: http://www.thelmagazine.com/TheMeasure/archives/2010/01/15/oscarbation-air-reitman-crash-lands#more

Well, yeah, Jason sounds quite full of himself. I do enjoy his movies though.

And Christ-almighty that Armond White is a prick.

[Adam]

Ah, nuts to Nick and Armond and all the other mouth breathers who can't even begin to wrap their mind-grapes around the sheer genius that is Jason Reitman

[Qrazy]

Well despite it's direct message The Insider is still a much better film than Thank You for Smoking.

[number8]

Well despite it's direct message The Insider is still a much better film than Thank You for Smoking.

Uhm, you know someone who would say differently?

EDIT: Nevermind. Ugh.

[Qrazy]

Uhm, you know someone who would say differently?

EDIT: Nevermind. Ugh.

Sorry I should have prefaced that with the comment.

[number8]

Also, I really don't think THE INSIDER is all "Smoking bad!"

What the hell was Reitman smoking?

See what I did there...

[Boner M]

Who wants to laugh along with me through this interview:

http://nymag.com/movies/features/62896/



Bwahahaha.

Also, this is worth peeking at: http://www.thelmagazine.com/TheMeasure/archives/2010/01/15/oscarbation-air-reitman-crash-lands#more
Well, his films are certainly polarising. They divide people into "those who like Jason Reitman films" and "those with common sense".

Haven't got a lot to add about the film. Expectedly watchable but entirely mediocre. A script full of insurance commercial platitudes, family values as a shorthand for emotional connection, and the misguided belief that there's no narrative dilemma that a wistful folk music montage can't solve. Snoooooore. A few good scenes, mostly involving Clooney & Kendrick - the latter's character was all too recognisable for me, though her resolution was of a piece with the film's neatness and predictability.

Tokyo Sonata captured the zeitgeist better, without even trying.

[Derek]

Tokyo Sonata captured the zeitgeist better, without even trying.

And it was much funnier to boot.

[Kurosawa Fan]

Holy terrible. What a shallow, flaccid experience this was. Nothing insightful to say about our economic downturn, nothing important to say about the rise in technology and the internet, no concrete examination of the institution of marriage or the importance of family, etc., etc., etc. It's a drab, empty film that skates along the surface of all these issues with whimsy, and then tries to strive for importance and/or relevance with a "sucker-punch" twist. I mean, when the interviews with people who have lost their job feels out of place in a film about people losing their jobs, you've failed. The writing was so poor in any moment that was intended to hold dramatic weight that it was almost as if they weren't even trying. Especially embarrassing was the motivational speech to Danny McBride. Kind of a quick turnaround there, no? I liked Anna Kendrick, thought Farmiga was wasted for the most part, Clooney was one-note, and everything else was paint-by-numbers (music inserts and montages especially). Had some charming moments, but ultimately left me scratching my head and wondering just what in the hell everyone sees in this. If it's between this and Avatar, I'll take Avatar ten times out of ten.

[Derek]

Holy terrible. What a shallow, flaccid experience this was. Nothing insightful to say about our economic downturn, nothing important to say about the rise in technology and the internet, no concrete examination of the institution of marriage or the importance of family, etc., etc., etc. It's a drab, empty film that skates along the surface of all these issues with whimsy, and then tries to strive for importance and/or relevance with a "sucker-punch" twist. I mean, when the interviews with people who have lost their job feels out of place in a film about people losing their jobs, you've failed. The writing was so poor in any moment that was intended to hold dramatic weight that it was almost as if they weren't even trying. Especially embarrassing was the motivational speech to Danny McBride. Kind of a quick turnaround there, no? I liked Anna Kendrick, thought Farmiga was wasted for the most part, Clooney was one-note, and everything else was paint-by-numbers (music inserts and montages especially). Had some charming moments, but ultimately left me scratching my head and wondering just what in the hell everyone sees in this. If it's between this and Avatar, I'll take Avatar ten times out of ten.

:pritch:

[Boner M]

I mean, when the interviews with people who have lost their job feels out of place in a film about people losing their jobs, you've failed.
http://mono.whatevz.net/images/likeYau8lN.jpg

[B-side]

*adds another symbol of agreement*

[MadMan]

*Shrugs* I thought the movie was truly great, actually, and one of the year's best. Eventually I'll write a review, not that those who didn't like it won't be affected by what I pen out. But that's never stopped me before, heh.

Yeah I'm the guy who actually enjoyed Thank You For Smoking a lot, so go figure :P

[eternity]

I love Thank You for Smoking. I let Juno stick it in any hole it wants.

Up in the Air is still meh.