RSSClooney shines, soars through the ‘Air'
Through all 109 minutes of "Up in the Air," there is never a moment of absolute triumph or defeat. The music never swells for a climactic epiphany. The film is actually a little underwhelming. Director Jason Reitman ("Juno") pulls off the nifty trick of turning a simple story into an engaging bit of entertainment without relying on schmaltz or forced grittiness.
In Omaha, a consulting firm sends employees all over the country to trim the fat from companies too busy to do it themselves. Their star is Ryan Bingham (George Clooney), who is on the road so much that he only keeps a small one-bedroom apartment. But a new computer system developed by Ivy League wiz kid Natalie (Anna Kendrick, "Twilight"), threatens to ground the team. Firing people, it appears, is just as effective over a webcam. Ryan objects to this new strategy on the grounds that the human element will be lost. In truth, he loves not having a home base and pausing only to give the occasional motivational speech.
During one last push, Ryan takes Natalie across the country with him to prove that face-to-face elimination is the way to go. Meanwhile, he dives into a romance with fellow road warrior Alex (Vida Farmiga, "Orphan"). It becomes clear that Ryan's lifestyle is hurting his family including sister Julie (Melanie Lynskey, "Away We Go") and her fiancé Jim (Danny McBride, "Tropic Thunder").
Reitman began working on a script based on Walter Kirn's book six years ago, long before the current economic crisis. Originally, the firings in the film were to be played for laughs. Sensitive to the plight of the American office worker, he opted to play these scenes straight. Real-life victims of corporate downsizing were hired to appear, which adds an extra level of believability. Some act with rage; others sit still in quiet shock. But no attempt is made to embellish the subject to cash in with a timely "message film." It's just what Ryan does.
Clooney is the big name on the movie poster, but "Up in the Air" is Reitman's showpiece. From the opening sequence in which Ryan describes his routine through a quick-cut montage of packing and navigating airport security, the director is in control. During "Juno"-mania, Diablo Cody's kitschy script unfairly overshadowed Reitman's skills. His style is hard to pin down; he doesn't apply signature quirks like Wes Anderson or intense silence like the Coen brothers. He simply starts and ends scenes at exactly the right time and avoids the expected. Perhaps the film's best attribute is that no character is relegated to an archetype. If there's one thing Reitman does best, it's directing actors.
Natalie is cool and confident like her Cornell University education trained her to be, but gradually shows signs of fragility as would a actual 23-year-old thrown into the real world. The relatively unknown Farmiga also turns out a surprisingly strong performance. When Ryan picks up Alex in a hotel bar, she doesn't swoon like so many victims of the Clooney stare. She flirts realistically in a way that expresses her belief that this encounter is the beginning of a game. Behind that coy smile and piercing blue eyes, it's clear that there are plenty of secrets.
Danny McBride is one of those actors that can induce laughter without doing much. Reitman realizes this and keeps a tight leash on the actor known to many as the drug dealer from "Pineapple Express." The result proves that the guy is capable of much more than playing a Southern goofball.
Stellar supporting performances aside, this is Clooney's film. The actor has won acclaim playing against type in heavy dramas like "Syriana" and comedies like "O Brother, Where Art Thou?" This is the first time he truly succeeded in the kind of handsome charmer role that first made him a star on "ER." He doesn't just grin his way through; instead, he becomes Ryan Bingham. Sure, every speech is smooth, but there is always a hint of regret in his voice. You know from his empathetic approach to firing people that Ryan doesn't truly believe settling down is pointless. It's only a matter of time before this front begins to wear down. Clooney sells this transition effortlessly.
"Up in the Air" is never hilarious or deeply heart wrenching; it's just true. The film is a throwback to the great dramedies of the 1980s like "Broadcast News" and "Moonstruck." Reitman reminds us that not every punch line has to be a side-splitter. Sometimes it's best to just stand back and let a talented cast act out a believable plot that's both topical and timeless.
The most elementary, and perhaps the best, way to judge a movie is to weigh the boredom with the moments of excitement. This film is as even as it can be, but the ride is as enjoyable as any big-budget blockbuster. Once Ryan, Natalie and Alex take off into the clouds, you'll want to keep coasting along with them.