Tra le nuvole

Director Jason Reitman, that has brought us great Indie classics such as Thank You for Smoking and Juno has crafted his most personal and most effective portrait to date, Up in the Air. The film stars George Clooney, also giving his most intimate and beautiful performance of his career, as Ryan, a traveling "Firing-Man," who plans on racking up as much frequent flyer miles as he can. Completely void of human connection and emotion, even from his two sisters, one of which is getting married, Ryan seems completely content with his choice of living. All seems well until he meets his female version in the beautiful and charismatic Alex, played with sexual force and intensity by Vera Farmiga. At the same time, a change at his job makes him acquire a student, Natalie, played with sensitivity and vigor by Anna Kendrick, to learn the ropes of the business before potentially making a devastating change to Ryan's way of life.

The film, based on the book of the same title, is a moving and witty piece of cinema. The line deliveries given are some of the best liners of the year. The adaptation by Reitman and Sheldon Turner is of beautiful and social importance in today's day and age. There was no better time than now, to bring a film like this to the table. Dana E. Glauberman's crisp and precise editing sets the pace as we travel with Ryan in this beautiful account. Reitman's direction shows he's a force to be reckoned with and should be in full blown force for Oscar consideration along with the adaptation shared with Turner.

George Clooney, who's having one hell of a year along with his other comedic turn in The Men Who Stare at Goats, gains sympathy and emotion from the viewer, which up until now, Clooney had always struggled for. The role is right up Clooney's alley and with humorous strength, conveys the pain and loneliness of an otherwise charming man successfully.

Vera Farmiga as Alex, is a beautiful as she is dark, and as sexy as she is ugly. Farmiga has finally landed the right role that, in her years of wrong place at the wrong time, should land her a first-time Oscar nomination. Never showing her hand, Farmiga keeps and earns your trust, attention, and admiration. It's one of the most divisive and structurally brilliant supporting turns of the year.

Seemingly not playing with a full deck is Natalie, played most beautifully by Anna Kendrick, who portrays brains don't equal smart choices. Kendrick earns your care and concern for the character, as she follows Ryan around and constantly badgers him about happiness and love, she naïvely and courageously shows the tenderest parts of youth in today's world. Kendrick will likely be sitting along side Farmiga at Oscar's ceremony.

Jason Bateman, playing Craig Gregory, the boss in charge, is amusing in a brief but memorable role. Amy Morton and Melanie Lynsky, who play Ryan's sisters, are valuable and sufficient enough to book end a wonderful tale. Danny McBride, an outstanding comic talent to watch, is as good as ever. And finally, in otherwise cameos, Sam Elliott and the great Zack Galifianakis are uproarious in their respective roles.

This could very well be the crowd and critical pleaser of the year. It has what the 2004 film Sideways lacked, the emotional edge. Long after the film, you take these characters home with you and remind yourself of its authenticity in delivery, poise, and premise. Up in the Air is one of the best pictures of the year. ****/****

Halfway through this movie I considered it an 8 out of 10 and decently spent money. The second half came as a big surprise. George Clooney let go of all his suave and let his eyes show fear and isolation that real people feel.

There were two things going on in this movie. On one end, we were looking at the people getting fired. On the other end, we were seeing the problems with Ryan's way of life. The interviews at the end with the people who lost their jobs explaining that it was family and support that brought them through bad times hit a perfect note for bringing both parts of the story together.

The title of this film literally explains what it is like to not know what aspects of your life are solid, such as a home or a significant other. Everything going on is simply up in the air. One day, what you thought was one way will turn out to be something else entirely.

Best of Reitman's three. Very much recommend it.

I really liked the movie, it kind of invites you to bring your own wine. There's a lot of probing into modern life and relationships, and it's up to you what you take from the film and what you feel for each of the characters. I was quite grateful for having seen Reitman's Thank You For Smoking (2005) previously, because both movies are really arch in the way they set up people in thoroughly pariah job roles and then get you to warm to them. So it didn't really come as a shock to see Clooney as an HR consultant (Ryan Bingham) whose job is to fire people in redundancy exercises where the management are too yeller, instead it rated an amused and knowing eyebrow raise.

Although a lot of the movie concerns the workplace, the disconnect between the interests of corporates and the interests of society (a link that was present historically in America, but which has been irrevocably decoupled), and how to work in that environment, the interest for me was more to do with relationships. From my male perspective there are some fairly poisonous insights into the female mind (though it may be unfair to generalise), the young Cornell grad Natalie Keener (played by Anna Kendrick) talks about her preconceptions of the man she will meet, the kind of name he will have, apparently the only thing he will love more than her is their "golden lab". The slightly older perspective from Alex Goran (played by Vera Farmiga) is that the man should be taller, should earn more, and come from a good family. To go with the aeronautical theme of the movie, the theatre should have provided some sick bags.

The main theme is, for me, pure Frank Borzage, it's about earning the right to love and be loved. In common with 80 years ago when those movies were being made, it's an onus that only weighs upon the male of the species, which makes the film a little hackneyed.

My favourite ambiguity of the film would have to be the backpack lectures that Bingham (Clooney) gives. He has a whole metaphor about everything in your life, the people, the trinkets, all the stuff you can collect, being in a backpack and weighing you down. He says that people aren't swans, they're not meant to be together forever, that they're actually sharks, who have to keep swimming continually, weighed down by nothing. I think there's an element of truth to both poles, I can see both arguments. I just love going to a Hollywood movie and not having an opinion shoved down my throat.

I had a slight problem regarding the level of realism in the film, I felt that the air-commuter lifestyle that was being shown was over-slicked, like I was watching something of a feather with The Consequences Of Love (or Giulia Doesn't Sleep At Night, two of the great modern hyper-stylised films from Italy). Nothing wrong with stylisation, except that I think Jason was trying to go for a film that had a lot of resonance with Recession America. I felt it was awkward to introduce real-life folks at the end, and also realistic looking termination assessments (or whatever they're called when you can someone), when the actors such as Clooney and Vera Farmiga were just so damned suave, as if from a different universe.

And this is to Claire.

Up in the Air has great performances from George Clooney, Vera Farmiga and Anna Kendrick with a great supporting cast. It also has a good combination of emotion, comedy and drama which helps overcome the predictable elements in the third act.

Based on the novel by Walter Kirn, George Clooney stars as corporate downsizing expert Ryan Bingham, who is hired to help ease the transition of long-term employees to the unemployment line across the country. Taking his job very seriously and loving the 290 days away from home—the only problem with that is the 70 days at home in his empty apartment—his world gets turned upside-down when a young upstart in the company threatens to ground the company to fire people via the internet. Not standing for a change in his life, nor the chance for his life goal of total airline miles to end, ("Let's just say I have a number and I haven't hit it yet"), he goes on a mission to prove how personal his job is and how key a face to face meeting can be to talk down an emotionally unstable person and really do the victim a service in an otherwise horrible moment in his life. Along the way, he and the recent college grad, of which the boss loves due to her budget slashing game-changing idea, Natalie, played by Anna Kendrick, both find out what has been lacking in their lives and how to become better people, opening up to love, heartbreak, and the need to grow up.

Clooney's Bingham is the loner businessman whose only relationships exist from random meetings with attractive females at the multiple airports he frequents. His wallet of plastic has become his lifeblood—credit cards from airlines that accumulate his mileage, hotel status perk cards that let him cut the disgruntled travelers and go straight to the front, and numerous room keys that never seem to be thrown out, causing him to always use more than one before finally opening his hotel suite's door. Detached from his family for years as the brother that exists but cannot be counted on for anything, he contemplates whether he should, or really wants to, attend his sister's wedding—the little girl of the family and someone he should have been involved with after the passing of their father. A series of style cramping incidents for him begins with a phone call from his other sister and the request to take a cardboard cutout of the happy couple, (Melanie Lynskey and Danny McBride, in a role that might actually show some nuance for a guy that usually flies by the cuff), and photograph it in front of famous places he travels to for work "like that French gnome movie,"—I love the Amélie reference. Then comes the threat of being taken out of the air, his home for decades, in order to impersonally let go more people more efficiently; the challenge of taking Natalie on his next schedule of jobs to prove to her why the new system won't work; and the addition of a love interest in Vera Farmiga's Alex, a woman who describes herself to him with "just think of me as you with a vagina"—one of many great lines.

There is a lot of subtlety and intricate weaving of plot lines throughout the story, details and sequences that need to be seen fresh to get the full benefit of the film. What you might initially think is a witty comedy about a jerk of a guy who not only thinks he's better than everyone else, but actually is, that either finds the error of his ways or gets dropped down a peg or two, eventually becomes a tale chock full of heart and emotion. The real success story of the film is a revelatory performance from Clooney who really knocks this on out of the park. He always showed the charisma and chops to play confident and successful, but here is allowed to also branch out and express the pent-up frustration that comes with isolated loneliness, the passion one can have for a job that seems horrible, yet, when treated carefully, is a job to take seriously, and the compassion for humanity on the whole, softening enough to realize that there are people around him that need help besides his laid off strangers, help that only he can provide. The evolution he undertakes is really pretty amazing and I credit Kirn, Reitman, and Clooney for pulling it off with grace and laughter.

Every single actor is unforgettable—even the bit parts like Zach Galifianakis and especially J.K. Simmons as two corporate employees who's jobs have been eliminated. Jason Bateman is hilarious as Clooney's smug boss, fully embodying the take no crap nonchalance he made famous in "Arrested Development"; Farmiga is gorgeous and competent to be able to go toe-to-toe with Clooney in the detachment and power-hungry attitude of flying in style for half a year or more; and, if George's reinvention of character is revelatory, then Kendrick's naïve Natalie is masterful. This girl was top in her class, able to get a job in her field wherever her heart desired, yet settled for this firm specializing in firing people so as to not dirty the workers' real superior's hands. Young and confused about life in the big world of adulthood—set on a plan for marriage and children to occur as though set times on a clock—her eyes are opened to the intimacy and fragility with which a person's mental state can be affected by mere words. When you put them all together, Up in the Air resonates on so many levels; deserving of any praise and accolades to be bestowed upon it. Hilariously funny every second of the way, it is still unafraid to dig into the dark moments of life and treat them with respect and relevancy, going places you wouldn't think it would have the guts to go. You really can't say too much about the film, a top ten of the year entry for sure. Reitman proving to be a force to reckon with and Clooney that he just keeps getting better with age.