Up in the Air Review
Posted by Chad Webb on 12.09.2009
Not to be confused with The Air Up There, that weird basketball movie with Kevin Bacon...
George Clooney: Ryan Bingham
Vera Farmiga: Alex Gorana
Anna Kendrick: Natalie Keener
Jason Bateman: Craig Gregory
Amy Morton: Kara Bingham
Melanie Lynskey: Julie Bingham
Danny McBride: Jim Miller
J.K. Simmons: Bob
Sam Elliot: Maynard Finch
Zack Galifianakis: Steve
Directed By: Jason Reitman
Written By: Jason Reitman and Sheldon Turner (Based on Walter Kirn’s novel)
Release Date: December 4, 2009
Running Time: 109 minutes
Rated R for language and some sexual content.
Four years ago, the son of Ivan Reitman burst onto the moviegoing scene with a satire called Thank You for Smoking. It was a breath of fresh air, and I desperately hoped that the (at the time) new filmmaker would attract attention and build a fanbase. With Up in the Air, Jason Reitman confirms he is here to stay, and his cinematic offerings will no doubt make an indelible impression for years to come. He has a lot in common with Frank Capra, Alexander Payne, and especially Preston Sturgess in terms of his modus operandi, and how his approaches to various scenes are ultimately conveyed. His films do not carry themselves as being more prestigious than they really are. Each one has been accessible to mainstream audiences, yet remained engrossing, thoughtful, stirring, and free of clichés.
One thing Up in the Air's Ryan Bingham (George Clooney) shares with Nick Naylor from Thank You For Smoking is that both hold jobs in which are difficult to imagine someone sustaining that position day in and day out. For Nick, it was talking a big game as a tobacco lobbyist. For Ryan, it is firing people. Apart from that, their lives begin to veer off on different courses. It takes a particularly extraordinary type of human being to inform people they are out of job, all day, but Ryan is good at his occupation. The sole responsibility of his company is to send out their work horses across the country to businesses that are afraid to fire the workers on their own. Ryan spends a lot of time flying from city to city, and spends only a handful of days at his apartment each year. It's a tough schedule, but he has it down to a science, and has discovered all the painless shortcuts along the way.
It turns out the company Ryan works for is embracing a new technique of accomplishing the tasks without wasting so much money on the travel budget. It involves terminating these employees via the internet. Basically you would sit down at a computer screen, and begin speaking to the face that will tell you you’re no longer essential to the position you've held. Ryan is not enthused by this novel solution, and does not hide his displeasure from his boss Craig Gregory (Jason Bateman), or the woman who designed it, Natalie Keener (Anna Kendrick). The solution is to have Natalie join Ryan on the road to see what it is really like to fire a person face to face. In the meantime, Ryan meets Alex Goran (Vera Farmiga), an attractive woman with a similar schedule and attitude towards life. They hit it off, but avoid any sort of commitment. In addition, Ryan's younger sister (Melanie Lynskey) is getting married. His family barely knows him because his life belongs to his job. Ryan must deal with the fact that his comfortable and anonymous manner of living could soon change permanently.
Aside from the recognizable faces, the sequences of people responding to being "let go" stem from real experiences. All of those people were at one time terminated by a company, and Jason Reitman chose to seek these people out rather than write all of those touchy situations himself. One woman described that filming the scene gave her the opportunity to say things she forgot to at the time because of being in shock. Though Up in the Air has many strengths, it is this degree of authenticity that separates it from the pack. Watching these ordinary folks spill their guts is quite touching because most are not lying. J.K. Simmons and Zack Galifianakis both have memorable moments integrated into this mix, but the transitions are seamless. It would be near impossible to fake the feelings of fear, anger, and depression of losing a job during a recession because that artificiality could be spotted immediately. Reitman understood this, and the movie thrives as a result.
One of George Clooney's biggest assets as an actor is that he has an innate talent of slipping into a role and appearing as comfortable as a person that has played the part for decades. This is why his performance is so inherently marvelous. True, Clooney's charm has helped him win praise on many occasions, but this is not the most important factor of Ryan Bingham. Instead, Clooney must enhance his ability to appear calm and assured. He is so at ease that he makes the issues of others seem more perceptible. This is a man who is consistently alone, who continually floats from place to place, hence Clooney's meticulous approach to the peculiar existence of the character appears legitimate and smooth. His motivational speeches could have easily been adjusted and amplified for increased effect and zeal, but instead they were kept grounded and confident. We are entranced by Bingham, but do not judge him too harshly based on his daily tasks. This proves how deliberate and efficient the turn is.
In movies like Running Scared, The Departed, Orphan, and Nothing But the Truth, you might recall the distinctive talents of Vera Farmiga. She has been thriving in supporting roles, and/or parts where she takes a back seat to a different star. Now is her time to break from that trend and show the world what she is capable of. As Alex Goran, she dazzles once again. Her beautiful body may be a work of art, but her timing and delivery have signs of an actress that is in the game for the long haul. The best way to describe her character is from a phone call with Ryan Bingham: “Think of me as yourself with a vagina.” Her chemistry with Clooney is undeniable and magnetic. The two of them are proud that they refrain from steady romances, but when they meet, the difficulty of accepting their own codes of conduct around the other is written all over their faces.
Anna Kendrick is someone that is primarily known for the Twilight franchise, but thankfully Reitman noticed her in Rocket Science, and decided to use her as Natalie Keener. Kendrick is a normal looking brunette, and on the surface, her part could have been played by many females. Kendrick is perfectly cast though because underneath the determined and quick-witted exterior, lurks a definite “girl next door” aura that is crucial in shaping Natalie. Once she joins Ryan on the road, her character’s development swells, thus her vulnerabilities and emotions leak out. This is where Kendrick steals the show. When she, Ryan, and Alex crash a party, she hilariously lets loose for some stress relief. Reitman really wants the audience to sympathize and care for this girl. Take for instance when she and Ryan go to Detroit for a round of terminations. Clooney builds up Detroit as the worst city on Earth to fire people, and when Jason Bateman’s arrogantly firm Craig Gregory instructs her take the main chair, you genuinely feel afraid for her life.
Up in the Air, like all of Reitman’s films, moves at a brisk pace, to the point where one is glad to be apart of his universe. Dan Glauberman’s swift editing helps as well. Reitman is intelligent in every aspect of the story from understanding how lonely people think to the essence of being in an airport. His writing is considerate and piercing. The small details are also fine-tuned, especially regarding the time one spends in the airport before getting on a flight, visiting the restaurants, standing in line, and moving through the security check points. Bingham is literally in the zone as he takes off his shoes, unpacks his laptop, and glides through the metal detector with virtually no problems whatsoever. Reitman plays hopscotch across the US without inducing that queasy jarring feeling. It is imperative that the viewer be aware of the city because one of the messages is that the downsizing can happen and is happening everywhere.
Up in the Air contains plenty of humor, but it is not entirely a comedy. It also packs sturdy blows of drama, but it is not necessarily that either. The fact that the film is so bracing and rewarding without falling easily into an unmistakable genre is what makes it so special. It is not about redemption or seeing the light. It is about a late awakening to an exclusive lifestyle, one that has consumed a man so absolutely with delight that he has missed out on a great deal. Jason Reitman combines elements of sharp wit and sentiment with control and composure. Studios should take out their notebooks and learn from Up in the Air. Refined films that are endlessly entertaining do not come along every week. Reitman had planned this as his debut feature, but it got sidetracked. The time is right. Fate has dealt him a lucky hand. This is a piece with heart that speaks to all of us.
The 411: Many people have talked about the secret cameo in Zombieland, but Sam Elliot has a superb cameo during the latter half of Up in the Air. It’s not meant to be a mystery, but it was just as hilarious and fulfilling in my mind. I’ve given out a few four-star, grade A ratings this year, and I have no qualms about doing it again here. Giving it any less seems like doing it a disservice because I simply cannot wait to watch it again. I’ve had that feeling with Jason Reitman’s efforts before. This, his third feature, is another success with splendid performances from George Clooney, Vera Farmiga, Anna Kendrick, and more. This is a film that is sure to be a crowd-pleaser, and that is a critic cliché I thought I’d never have the opportunity to use, but I just did. Do yourself a favor and go see it during the holiday season.
