UP IN THE AIR REVIEW

UP IN THE AIR
Director: Jason Reitman
Cast: George Clooney, Vera Farmiga, Anna Kendrick
Screenplay: Jason Reitman, Sheldon Turner
Running time: 109 min
Rating: M
**1/2/*****

UP IN THE AIR CRASHES TO EARTH

Clooney's latest obligatory awards contender is a rather bland look at the life of a rather uninteresting individual that consistently fails to deliver emotionally despite exploring the "big issues" of life.

Up In The Air tells the story of Ryan Bingham, a corporate downsizing expert who delights in his jet setting lifestyle of travelling around the country firing hapless individuals whose companies could not muster the courage to do the job themselves. Ryan's dream of reaching ten million frequent flyer miles is threatened however by the arrival of ambitious young gun Natalie who has come up with a plan to fire individuals via video conference in order to cut back on company costs. A further threat to Binghams lone wolf existence arrives in the form of his dream woman Alex, a fellow frequent flyer with a similar fetish for elite status. Bingham begins to re-examine his choices in order to ascertain what he really wants out of life.

Bingham is given no back story, he just is the way he is- a selfish human being who has chosen a very solitary existence so that he can be held accountable to no-one. In a job that requires Bingham to bring constant suffering to others he appears unaffected and seems to relish each trip so that he can fulfill his rather empty goal of achieving ten million frequent flyer miles. With the arrival of Natalie on the scene it is hard to ascertain whether Bingham objects to her new "downsizing" technique because he finds it particularly cruel and impersonal or because it will put an end to his cherished existence. His character is not very well rounded and you find yourself unaffected by Bingham's suffering after certain events in the film, after all what has this man done to deserve any sought of happiness? It is as though we are supposed to overlook the fact that Bingham is essentially a selfish bastard because it's George Clooney, after all someone as suave and handsome as Clooney can't be all bad right? Wrong!

Aspects of this film just don't add up. Natalie is supposed to be one of the main catalysts for change in Bingham's perspective on life but it is difficult to ascertain how exactly she achieves this. To think that this rather insufferable, stuffed-shirt could even make a dent in Binghams considerable armour with some rather naive ramblings about life and love is just implausible, especially since Natalie's life doesn't seem any the better for it. Her character is also somewhat of a mess, one minute she is berating Bingham with a speech on the importance of love, relationships and human interaction and the next minute she is launching into a full throttle campaign to enable her company to fire people in the most humiliating way imaginable.

That leaves his love interest Alex. Alex is basically the female version of Bingham, so the fact that he would begin to question his lifestyle after meeting someone who fits into it perfectly is quite peculiar to say the least . His sudden misgivings feel somewhat false and out of the blue.

Like writer/director's Jason Reitman's previous film Juno you are left wondering what exactly the message of the movie is supposed to be? Life is better with people? Nope, considering the characters who do have loved ones in their lives are either miserable, jilted or looking for an escape. It's never to late to change? Nope, considering Bingham consistantly fails to do so. It doesn't pay to lead a selfish life? Nope, considering Bingham appeared to be far happier when he was self absorbed and unaccountable. So it must be.....life can suck? Oh!

The whole film just seems to fall flat, even the scenes where dozens of workers are getting laid off feel emotionally barren. Was it the intention of the film maker to leave us feeling dead inside like Bingham appears to be.

All three lead actors are receiving Oscar buzz for their performances and whilst they are not bad they certainly don't standout as particuarly unique or noteworthy turns. George Clooney is playing George Clooney, nothing different from any other performance he is given over the course of his career. Anna Kendrick is essentially playing Jessica from Twilight with a college degree and Vera Farmiga is good but not great. It is indicative of the lackluster year of films in 2009 that these performances and this movie in general is considered at all awards worthy.


It is hard to take anything but a mild case of depression away from this film, or perhaps the fact that it sucks to get fired. Duh! For Clooney enthusiasts and persons in secure employment only. TWO AND A HALF OUT OF FIVE

IT'S COMPLICATED REVIEW

IT'S COMPLICATED
Director: Nancy Meyers
Cast: Meryl Streep, Alec Baldwin, Steve Martin
Screenplay: Nancy Meyers
Running time: 120 min
Rating: M
***1/2/*****

MENOPAUSAL ROMANCE HAS NEVER LOOKED

LIKE SO MUCH FUN

It's a shame that middle age romcoms don't appear in the marketplace more often as they consistently prove to be more intelligent, thoughtful and of a much finer caliber than the horrendous run of the mill offerings featuring egomaniacal twenty-something starlets looking for an easy hit, a big paycheck and an excuse to strut around their overly aerobicised buts in skimpy outfits.

It's Complicated tells the story of Jane Adler (Streep) who after a drunken night out unintentionally rekindles the romance with her now married ex-husband Jake (Baldwin). Jane is confused about the nature of her feelings, not to mention being both horrified and a little elated at the fact that she is now the other woman. Further complications arise when, much to Jake's chagrin, Jane developes a crush on her architect Adam (Martin). Jane must figure out her emotions before she loses both men altogether.

Director Nancy Meyers last foray into the menopausal romance genre is the modern classic Something's Got To Give and whilst It's Complicated doesn't quite reach the same heights it is nevertheless irrefutably enjoyable. Meyers is something of a pioneer of the middle aged romcom, having had a hand in some of the finest films the genre has to offer (Father of the Bride, Private Benjamin, Baby Boom). Her films are consistently more layered than the usual boy meets girl, boy loses girl, boy gets girl back romcom shtick, often exploring issues effecting a demographic that are harshly rejected by most of mainstream Hollywood.

From sagging body parts to empty nesting, the effects of divorce and impotance, the menopausal romance genre explores what happens after the happy ending. As such these films have a much more emotional subtext to them because they manage to hit nerves that vapid romantic comedies can't help but miss. It's Complicated is a unique mixture of soaring comedic highs and surprisingly poignant interludes. One moment you are doubled over with laughter as Steve Martin inadvertantly receives a rather unflattering close up of Alec Baldwins wang and then you're bought sharply back to reality with Jake and Jane having a rather touching discussion about the their failed marriage. It's Complicated is also unique in the fact that right up until the end you are not quite sure who Jane will end up with and can't even make up your own mind about the situation. Both Jake and Adam seem to fulfill different needs in Jane and it's a credit to Streep's chemistry with her two leading men that you actually wish she could be with them both.

Meyers once again surrounds herself with a dream cast of Hollywood royalty, and with good reason. Streep is as flawless as always and an excellent choice for a romcom protagonist, especially considering she is one of the only actresses in Hollywood who can command universal good will from womankind. Her relatability and likability in the role is one of the main contributors of It's Complicated success. Equally likable is the utterly hilarious Alec Baldwin who can elicit the giggles with the arch of an eyebrow. Baldwin is a natural born comedian who is so successful at walking the fine line between subtlety and slapstick that he manages to rival comedy legend Steve Martin in the laughs department. Martin does well with the chances for comedy he is given (pot hasn't seemed this funny since Jeff Spicoli) but he inhabits a more mature and grounded persona than in previous outings (cough..pink panther). Rounding out the cast is The Office star John Krasinski as Streep's future son in law Harley. Although the part is small Krasinski nevertheless delivers the goods.

It's Complicated is not the most exciting or unique film experience you will have this year but it's sure to be one of the most charming, and there is nothing complicated about that. THREE AND A HALF STARS

DID YOU HEAR ABOUT THE MORGANS? REVIEW

DID YOU HEAR ABOUT THE MORGANS
Director: Marc Lawrence
Cast: Sarah Jessica Parker, Hugh Grant, Sam Elliott
Screenplay: Marc Lawrence
Running Time: 103 min
Rating: PG
**/*****

THE ONLY THING YOU NEED TO HEAR ABOUT IS HOW

BORING THIS IS!

Not quite code Gigli but still bad even by romcom standards, Did you hear about the Morgans? is unfunny, unimaginative and an unfortunate waste of time.

The Morgans are a recently separated couple who agree to meet for dinner to discuss the future of their relationship. On the way home they happen to witness a murder by a notorious hitman and narrowly escape becoming his next victims. As the killer remains on the lose the Morgans are forced into the witness relocation program, where they must adjust their big city attitudes to fit in with the values of small town Wyoming.

The film marks the third collaboration between Hugh Grant and director Marc Lawrence, a partnership which keeps producing worse and worse product. After the ho hum Two Weeks Notice and the absolute snooze fest that was Music and Lyrics you'd think the pair would come up with something a little more interesting to work on. Alas this film is just the same old shtick devoid of the charm that made the before mentioned titles remotely watchable.

The predictability of the story is not the problem with the picture, after all if a romcom isn't predictable then it's not a romcom. The main faults lay within the poorly written characters and an hour and a half of situational comedy that falls shockingly flat. The film feels drawn out and incredibly slow. As it meanders along aimlessly we are bombarded with a plethora of fish out of water gags that are never funny to begin with and are only made worse but the either fatally dull or embarrassingly stereotypical characters involved in them.

An audience can forgive a romcom for almost anything if the chemistry between the two leads is sizzling. Take The Proposal and The Ugly Truth as more recent examples of this; bad films, big box office! Unfortunately Sarah Jessica Parker and Hugh Grant just don't have "it". You don't really care about what happens to their relationship, quite damaging considering this is the basis of the film. Their performances are lackluster and the fact that they are playing their usual screen persona's is only worsened by the poor script. Added for some extra comic relief but not quite making it are the pairs unamusing assistants played by the usually brilliant Elisabeth Moss and newcomer Jesse Liebman. Rounding out the cast is Queen of the thankless supporting role Mary Steenburgan and Mr. Mustache Sam Elliott as the two law enforcement officers assigned to protect the Morgans. Unfortunately the pair fail to rise above their type A southern stereotypes .

Chances are if you've seen the trailer for this you really don't need to see the movie, as all of the best parts of the film are in it. Did you hear about the Morgans makes for some harmless viewing but if your time is precious perhaps wait for DVD. TWO STARS OUT OF FIVE

THE LOVELY BONES REVIEW

THE LOVELY BONES
Director: Peter Jackson
Cast: Saoirse Ronan, Stanley Tucci, Mark Wahlberg
Screenplay: Peter Jackson, Fran Walsh, Philippa Boyens
Running time: 135 min
Rating: M
****/*****

THERE MAY BE A FEW BONES TO PICK, BUT THERE IS STILL A LOT

OF LOVELY EVIDENT

Peter Jackson's adaptation of Alice Sebold's best selling novel is deeply flawed. It is also deeply haunting, deeply moving and one of the most unforgettable film experiences of this or any other year.

Fourteen year old Susie Salmon watches over her family from the afterlife as they attempt to piece their lives back together after her brutal murder. But even in death Susie is still haunted by what has happened and becomes consumed with bringing the perpetrator to justice.

The subject matter is tough to say the least, but Jackson handles the material beautifully. Young Susie's rape and murder is never gratuitous, in fact very little of the crime is actually seen as Jackson opts to employ the use of haunting symbolism rather than brutal realism to imply what has happened. In turn Jackson's powerful imagery hits more disturbingly close to home than one could possibly imagine.

Jackson is the master of imagery and the film is glorious to look at. For a movie with such a dark subject matter, it may be surprising to learn that The Lovely Bones is steeped in vibrant colour. Both in life and death Jackson creates visually interesting worlds for Susie to inhabit, both in an authentic recreation of 70's suburbia in both look and feel and a heavenly universe rife with symbolism and magnificent imagery. This being so the scenes featuring Susie in the afterlife, whilst visually stunning, serve to derail the pace of the film.

The Lovely Bones gets off to an excellent start. We are introduced to Susie and grow instantly attached. She is smart, witty and endearingly naive, everything a likable heroin should be which makes the knowledge of her impending doom even harder to digest. The film is a unique mixture of light and dark moments. Jackson lolls us into a false sense of comfort after we view a comical encounter with Susie and her Grandmother about the joy of first kisses, we are then brought sharply back to reality with Susie's narration reminding us that she will soon meet her demise at the hands of the terrifyingly creepy Mr Harvey, the quiet but psychologically disturbed neighbour from across the road.

The film starts of light but soon turns into a tense, gritty thriller as the quest to discover what has happened to Susie begins. The scenes of Susie in the afterlife tend to derail the growing momentum of the investigation, as do some poorly executed sub plots. Susie's infatuation with Ray, a boy from school with which she has had but a few encounters, feels rather off note as she seems to spend more time moping for him in the afterlife than for her family. Susie's otherworldly contact with outcast Ruth also turns out to be highly frustrating as it builds expectation but accomplishes nothing in the way of bringing Susie's murderer to justice.

One of the biggest faults in The Lovely Bones is poor character development, with Susie's parents suffering most. Their relationship seems false and their initial reaction to her death feels rather hastily passed over. The disintegration of their marriage barely registers in the film and we never really get a grip on who they are as characters, making it almost impossible to understand many of their actions, in particular Abigail's. The usually brilliant Rachel Weisz appears to be a blank canvas and doesn't seem to be fully present within her role. Mark Wahlberg fares a little better as the father obsessed with finding Susie's killer, but the holes within his character and thus performance are glaringly apparent. Whilst Rose McIver turns in a solid performance as Susie's younger sister Lindsay, the murder of her sibling appears to have no emotional effect on her character at all. Susan Sarandan in the role of Susie's unconventional, alcoholic Grandmother does well with the little she is given as some brief but pointless comic relief but Michael Imperioli fails to rise above his stereotypical, one note homicide detective.

The two lead characters however manage to escape the fate of the supporting cast. Susie is possibly the most well rounded character in the film and Saoirse Ronan is brilliant in the role. One of the most talented actresses working today her work deserves to be recognised by the Academy as she manages to outshine the majority of performances we've seen this year. The real show stealer however is masterclass character actor Stanley Tucci as the deranged serial killer Mr Harvey. Tucci's performance is so sinister and disturbing that it will haunt you for some time to come. It would be an absolute crime for Tucci to miss out on at least an Oscar nomination for his work as really he deserves to win.

Despite it's faults The Lovely Bones still makes for one of the most original and compelling film experiences of the year. Completely haunting in every way, it is a great film that could or should have been magnificent. FOUR OUT OF FIVE STARS