Distante nós Vamos

This is an enjoyable watch. It won't change your life, but it won't waste 2 hours of your life, either. Pretty humorous with some actual laugh out loud moments. Sentimental enough without being tissues-required. So, yeah, an enjoyable watch.

I feel that the film makes a great connection between love and the experience of watching a movie. The end of this film is unbelievably right, given the nature of human experience and its relationship to the ideals that we construct in our heads. This movie captures the essence of both love and art together. We are bound to both love and art by a promise that we are pretty sure will be broken from time to time, just like the promises that the two people in the movie make to each other. But as human beings, we so much want the promise to come true that we will make it again and again. Whenever I watch a movie, I renew my own type of promise, one that I know will be broken, or at least will never live up to my own expectations. The characters in this movie go through the process of being broken by love (mostly through a sort of family and place Odyssey) in order to realize that the promises we make to each other can only be broken if we want them to be. We can love each other until we stop believing, and we can bring ourselves to watch a love story that keeps that same promise to the viewer. Sam Mendes has made the only romantic comedy he could ever make as a director: one that respects the viewer as well as the characters.

Burt (John Krasinski) and Verona (Maya Rudolph), an unmarried but devoted-to-each-other couple, are expecting a baby girl in three months. They moved near Burt's parents (Jeff Daniels and Catherine O'Hara) because they wanted to give their child loving relatives in close proximity. Now, however, Burt's mom and dad announce that they are fulfilling a lifelong dream of "moving to Belgium", where they will be for the next two years. Huh. It does not appear that they are thinking of the coming granddaughter, only of themselves. This throws Burt and Verona into a frenzy of activity, for they want to select another locale to call home, near friends or relatives, and there isn't much time. Over the course of the next few weeks, the young couple travel to Arizona, Wisconsin, Montreal, and Florida in search of a new place to put down roots. Along the way, the pregnant twosome meet up with a bizarre friend (Allison Janney), an "adopted cousin" (Maggie Gyllenhaal), and other pals and relations. Will they find the perfect place to raise their daughter? After viewing this winning movie, no one can ever say that Sam Mendes does not have a softer side, which, to be honest, was fairly absent in his works such as American Beauty or Revolutionary Road. In fact, although Mendes is still wonderful at showing the idiosyncrasies and flaws in the lives of average Americans, this film's sweetness is its core asset. The cast is great, with Krasinski and Rudolph near perfect as the loving couple, while Janney, Daniels, O'Hara, and all of the lesser known cast members do a great job as well. Gyllenhaal deserves special mention, for she looks sensational and is a scream as the "new age" type mother. Naturally, it is quite beautiful to go from one splendid venue to the next and the costumes are lovely as well, especially Rudolph's maternity wardrobe. As for the script, it is stylish, imaginative, and very funny. If you love exceptional movies that more closely resemble coq au vin than meatloaf in the world of films, here is one definitely for you to savor. .

I think I can honestly say that I like Sam Mendes. His films seem to gun above all else for a place of timeless emotional resonance (even when that timelessness eludes the films themselves) and usually succeed, even within the more confined quarters of their respective settings, whether the war-gutted landscape of Jarhead or the 30s era noir of Road To Perdition. Although the critically loved American Beauty loses alarming shades of impact for me with each viewing due to its flawed philosophical stabs toward truth, Mendes still manages to provoke a contemplative mindset out of his audience. His films operate well on that level, even when they fall short in their personal declarations.

Away We Go is Mendes' warmest film to date, taking on a tone of humor and lightness that none of his other works approached without a biting irony to match. Bert (The Office's John Krasinsky) and Verona (SNL's Maya Rudolph) are a young couple expecting their first child. They occupy a ramshackle trailer in Colorado near where Bert's parents (Jeff Daniels and Catherine O' Hara) live. Bert and Verona's reasons to remain in the area fall apart quickly when his parents decide to immediately move to France for a couple years, despite hearing the news of their coming grandchild. With that incentive now gone, the couple embarks on a road trip around the continental U.S. to reunite with old friends and look for a new place to call home. With each stop, through each encounter with estranged family and past friends, they find unsurety in their future as well as deepening layers in their relationship.

I've read a couple accounts that criticize the clashes between the poignancy and humor in Away We Go, and to a certain extent I would have to agree. There is definitely a clumsily staggered rhythm at certain points in the story, but overall I'd say that the heart of the insights and conflict overcomes the erraticism of the pace. There is some great chemistry between Krasinsky and Rudolph, and the talent (the aforementioned Daniels and O' Hara, Jim Gaffigan, Allison Janney, Paul Schneider, and Maggie Gyllenhaal, among the rest of the supporting ensemble) create convincing foils and compliments to Bert and Verona's journey. The direction is solid, and the screenplay (by first time screenwriters, novelist husband-and-wife team Vandela Vida and Dave Eggers) is sharp, hilarious and mostly consistent with its narrative. There's really nothing to keep me from recommending Away We Go. It's got an infectious vibe to it, and while it may be incongruent at times, and perhaps ride the Juno/Little Miss Sunshine/Junebug wave a little hard, it still remains enjoyable and heartfelt.

Away We Go (2009), directed by Sam Mendes, is a road movie with a difference. Many road movies involve strangers met by the protagonist as he or she travels from place to place. Away We Go sends the two main characters into different locations, but all the people they meet are people they already know, or think they know.

When Verona De Tessant (Maya Rudolph) learns that she is pregnant, the question for her and her partner, Burt (John Krasinkski) is, Where do we live after the baby is born? To answer the question, they travel from distant (U.S. and Canadian) city to distant city. Mostly what they find is disappointment and bad surprises.

Lily (Allison Janney), a former boss and friend, proves to be a dysfunctional person raising a dysfunctional family. A "cousin," LN (Maggie Gyllenhaal) gives new meaning to the words New Age. Verona's sister Grace (Carmen Ejogo) has her own problems and heartaches.

There are jokes (and laughs) along the way, but, the trip gets more and more discouraging (for them and us) as the movie goes along. What saves Verona and Burt (and the movie) is the loving, caring, and realistic relationship between the couple. They're both interesting, quirky, and attractive people. We care for them, and we want their quest to succeed.

Both Janney and Gyllenhaal are outstanding--as expected--although Mendes has portrayed both their characters in an exaggerated, over-the-top fashion. That's OK--we get the point, and the movie is a work of fiction, not a documentary.

Maya Rudolph makes a smooth transition from TV (SNL) to film. She's not drop-dead beautiful in the Hollywood style, which makes her more attractive (to me) and more appropriate to the character she plays.

Burt's character is more problematic. He's supposed to be someone who "sells insurance to insurance companies," but he looks and dresses more like an assistant manager at a fast- food restaurant. (He goes to a job interview dressed like someone who has picked out his clothing at a thrift shop.) And, given his moderate success in business, and Verona's equally moderate success as a medical illustrator, they're amazingly casual about spending money. Are they using their life's savings?

All in all, this is a movie worth seeing, but not likely to be on anyone's list of all-time favorite movies. We saw it at the excellent Little Theatre in Rochester, NY. It would also work well on DVD.