After breaking out two years ago with the teen pregnancy comedy Juno writer-director Jason Reitman trains his keen acerbic eye on the modern business traveler in Up in the Air a bittersweet comedy about one man’s turbulent journey of self-discovery and redemption.
George Clooney stars as Ryan Bingham a corporate downsizer (he fires people for a living essentially) and seasoned road warrior whose aversion to real human connection is reflected in his mammoth stockpile of frequent flyer miles the fruits of a job that calls for 300-plus days spent away from the office. Thoroughly content with a life spent in hotel bars and airport lounges Ryan begins to slowly unravel when he’s tasked with mentoring Natalie (Anna Kendrick) a fresh-faced recent graduate with a bold set of ideas for transforming the business of firing people — ideas that threaten both Ryan’s untethered existence and his budding relationship with Alex (Vera Farmiga) a fellow corporate nomad whose penchant for low-effort commitment-free relationships mirrors his own.
Enchanted by visions of a perpetual booty call replete with racy Blackberry messages and romantic trysts arranged via Outlook Ryan begins to suspect he might have found his soulmate in Alex. Inconveniencing his idealized scenario however is his travel partner Natalie a probing perceptive gal who proves a far more worthy adversary than he initially anticipated. As Ryan exposes Natalie’s real-world inexperience and naivety in a series of mildly disastrous business meetings she in turn refutes his resolutely isolationist approach to love and relationships. Soon their mutual resentment gives way to a father-daughter dynamic characterized by genuine albeit guarded affection. As his carefully crafted barriers steadily erode Ryan’s thoughts increasingly turn to Alex and he begins to contemplate the previously unthinkable prospect of putting down actual roots.
Corporate downsizing emotional detachment and the dehumanizing effects of modern technology aren’t exactly the most lighthearted of topics but Up in the Air avoids wallowing in dour Death of a Salesman territory with the help of Reitman’s sharp perceptive wit and a handful of lively cameos from comic heavyweights like Danny McBride Zach Galifianakis and J.K. Simmons. In fact the whole affair makes for a surprisingly uplifting experience in a "saddest happy ending" kind of way. Though the latter half of the film is hampered by structural deficiencies and a pair of melodramatic sadly predictable twists that move the plot forward but diminish its overall impact it still qualifies as one of the top films of the year and Reitman’s best work to date. Consider Up in the Air a surefire Oscar contender.
The Independent Spirit Awards kicked off the night with prizes going out to James Franco and Penelope Cruz for their supporting roles in Milk and Vicky Cristina Barcelona respectively.
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The night ended with The Wrestler and Mickey Rourke taking took top honors for best film and lead actor. Melissa Leo, who some may have seen as the under dog, rounded out the night winning best female lead for her performance in Frozen River.
The complete list of nominations & winners:
Rachel Getting Married
Wendy and Lucy
The Wrestler -- WINNER!
Ramin Bahrani, Chop Shop
Jonathan Demme, Rachel Getting Married
Lance Hammer, Ballast
Courtney Hunt, Frozen River
Thomas McCarthy, The Visitor -- WINNER!
Best First Feature
Medicine for Melancholy
Sangre de Mi Sangre
Synecdoche, New York -- WINNER!
John Cassavetes Award
In Search of a Midnight Kiss -- WINNER!
Prince of Broadway
Turn the River
Best First Screenplay
Dustin Lance Black, Milk -- WINNER!
Lance Hammer, Ballast
Courtney Hunt, Frozen River
Jonathan Levine, The Wackness
Jenny Lumet, Rachel Getting Married
Woody Allen, Vicky Christina Barcelona -- WINNER!
Anna Fleck and Ryan Boden, Sugar
Charlie Kaufman, Synecdoche, New York
Howard A. Rodman, Savage Grace
Christopher Zalla, Sangre de Mi Sangre
Best Female Lead
Summer Bishil, Towelhead
Anne Hathaway, Rachel Getting Married
Melissa Leo, Frozen River -- WINNER!
Tarra Riggs, Ballast
Michelle Williams, Wendy and Lucy
Best Male Lead
Javier Bardem, Vicky Christina Barcelona
Richard Jenkins, The Visitor
Sean Penn, Milk
Jeremy Renner, The Hurt Locker
Mickey Rourke, The Wrestler -- WINNER!
Best Supporting Female
Penelope Cruz, Vicky Christina Barcelona -- WINNER!
Rosemarie DeWitt, Rachel Getting Married
Rosie Perez, The Take
Misty Upham, Frozen River
Debra Winger, Rachel Getting Married
Best Supporting Male
James Franco, Milk -- WINNER!
Anthony Mackie, The Hurt Locker
Charlie McDermott, Frozen River
JimMyron Ross, Ballast
Haaz Sleiman, The Visitor
Maryse Alberti, The Wrestler -- WINNER!
Lol Crowley, Ballast
James Laxton, Medicine for Melancholy
Harris Savides, Milk
Michael Simmonds, Chop Shop
The Betrayal (Nerakhoon)
Encounters at the End of the World
Man on Wire -- WINNER!
The Order of Myths
Up the Yangtze
Best Foreign Film
The Class (France) -- WINNER!
Secret of the Grain (France)
Silent Light (Mexico/France/Netherlands/Germany)
Robert Altman Award: (Given to one film's director, casting director and ensemble cast)
Synecdoche, New York
Director: Charlie Kaufman Casting Director: Jeanne McCarthy
Ensemble Cast: Hope Davis, Philip Seymour Hoffman, Jennifer Jason Leigh, Catherine Keener, Samantha Morton, Tom Noonan, Dianne Wiest, Michelle Williams
Someone to Watch Award
Barry Jenkins, Medicine for Melancholy
Nina Paley, Sita Sings the Blues
Lynn Shelton, My Effortless Brilliance -- WINNER!
Truer Than Fiction Award
Margaret Brown, The Order of Myths -- The WINNER!
Sacha Gervasi, Anvil! The Story of Anvil
Darius Marder, Loot
Lars Knudsen and Joy Van Hoy, Tireless Mountain and I'll Come Running
Jason Orans, Goodbye Solo and Year of the Fish
Heather Rae, Frozen River and Ibid -- WINNER!
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Cooked up in the head of Oscar-winning screenwriter Charlie Kaufman (Being John Malkovich) comes the movie in which he makes his directorial debut. Without Michel Gondry or Spike Jonze sifting through the maze this time Kaufman himself weaves this crazy quilt with consummate skill. In other words Synecdoche New York is just as successfully quirky humane and head scratching as all the others in the Kaufman ouerve. To sum up the plot succinctly is impossible but it centers on a stage director and hypochondriac Caden Cotard (Philip Seymour Hoffman) who trades in his suburban life with wife Adele (Catherine Keener) daughter Olive (Sadie Goldstein) and regional theatrical work in Schenectady for a chance at Broadway. He puts together a cast (resembling those in his own dream world) and brings them to a Manhattan warehouse being designed as a replica of the city outside. As the world he is creating inside these walls expands so does the focus of his own life and relationships. As the years literally fly by he gets deeper into his theatrical self which soon starts to merge with his own increasingly pathetic reality. Whatever you make of the tale Kaufman is telling here the casting could not be better or more suited to the quirky material. Philip Seymour Hoffman offers up a tour-de-force and is simply superb playing all the tics and foibles of the deeply disturbed Caden. His early scenes in his “normal” home are wonderfully alive with all his phobias and hypochondria in view. Later we literally watch this man disintegrate as his master creation overwhelms him. Hoffman seems to fully understand the mental trauma of a man running as far from his own realities as he possibly can. Catherine Keener as always is right on target as his wife Adele. She has a knack for taking what seems like tiny moments and making them define exactly who this woman is. Jennifer Jason Leigh as a mentor to Caden’s daughter is always fascinating to watch and plays Maria with an ounce of irony. Tom Noonan playing the actor portraying Caden in the play is the perfect doppelganger and delightfully adds to Caden’s confused state. The all-pro trio of Michelle Williams as Caden’s new wife Claire; Samantha Morton as the irresistible assistant Hazel; and Hope Davis as Caden’s self-absorbed therapist add greatly to the merry mix. It’s nice to watch Charlie Kaufman seize control of his own work. In this instance he’s really the only one who can deliver us his Fellini-esque vision. Centering it all on the theatrical director’s weird universe Synecdoche does seem like it might be Kaufman’s own take on Fellini’s 8 ½ or even Woody Allen’s paean to that film Stardust Memories. Let’s just say we know most of it must exist somewhere inside Kaufman. Early domestic scenes could have been played flat but the novice director moves the camera around skillfully enough to make us immediately engaged in Caden’s world. Second half of the film set in the phantasmagoric warehouse is a stunning tapestry of scenes from Kaufman’s singularly fertile imagination. It’s nice to note he’s well equipped with the basic tools a director needs for this type of challenging material. Overall his film is a surprising confounding visual feast -- a dream/nightmare come to life and then spinning out of control.
Based on the popular children’s book by Jeanne DuPrau City of Ember is really a cautionary tale: Don’t build an underground city as a refuge for humanity against the threat of a world gone mad and forget to tell its denizens that their city will fall apart after 200 years. To be fair the original “Builders” of Ember tried to set up an exit strategy but didn’t account for the possibility of human error. Thus when the deadline comes the current Ember-ites have no idea why their giant generator powering the whole city is failing. Although he is supposed to know The Mayor (Bill Murray) has no clue--and frankly doesn’t care that much since he has his own exit strategy. The only ones extremely concerned are teens Doon (Harry Treadaway) and Lina (Saoirse Ronan) who discover an ancient document and end up racing against the clock following the clues they hope will lead them--and the rest of the people of Ember--to safety beyond their doomed city. Irish actress Saoirse Ronan best known for her amazingly sophisticated Oscar-nominated performance in Atonement has a face the camera loves. With wide expressive eyes and deep concentration she makes City of Ember that much more compelling simply by the way her face registers a moment. You can tell what she’s thinking without her ever saying a word. She’s quite something. Treadaway (Control) isn’t nearly as effective but he fits the action-hero shoes well. Murray seems to be up to his I-hate-kids tricks (shades of W.C. Fields) but has fun with his vain Mayor. But most of the other adults are somewhat wasted including Toby Jones as the Mayor’s henchman; Marianne Jean-Baptiste as Lina’s ally; Martin Landau as an old laborer who works in the city’s pipes; and finally Tim Robbins as Doon’s inventor dad. They all have the makings to be interesting characters but there’s just not enough about them on screen. I suppose reading the book would help. Director Gil Kenan is a still a kid at heart it’s easy to see. Having made his directorial debut with the visually stunning Monster House he moves into familiar territory with City of Ember tackling the live-action milieu this time around. The city itself is fantastic to look at from the millions of overhead street lights illuminating Ember to Lina’s yarn-filled apartment where she lives to even the smallest details such as a door knob. Kenan takes you down deep into this underground mecca to the point you almost feel claustrophobic. City of Ember certainly isn’t a flick for the younger audiences either with dark scary things lurking in the Pipeworks of the city. Kenan however isn’t quite savvy enough yet to elicit good performances from his actors which is where City of Ember falters a bit--save for Ronan; Kenan just lucked out with her. No matter this adaptation is about the visuals and the thrill of escaping from City of Ember and it delivers the goods on all accounts.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.