Drinking Buddies

I have a theory about movies and the critics who review them. Sometimes I think critics get together as a group, grab some lunch and collectively agree whether or not to give a positive or negative review to a specific film. That's the biggest thing I took away from 2013's Drinking Buddies, currently rocking an 82% from critics (that's good) at Rotten Tomatoes but only a 56% from audiences (strictly mediocre) and 6.2 at IMDB (a "Meh" if there ever was). Which one is it? Critical darling or audience dud?

Working at Revolution Brewery in Chicago, Kate (Olivia Wilde) and Luke (Jake Johnson) are the best of friends. They hang out together, go drinking after work, bust each other almost non-stop about...well, everything and more importantly trust the other one about just about everything. Their friendly(ish) flirting goes on almost non-stop as well, but there's a problem. Both are in relationships, Kate dating Chris (Ron Livingston), who signs promising artists for a record label while Luke is quasi-engaged to Jill (Anna Kendrick) as the couple figures things out for the future. Could anything come of their friendship like the perfectly compatible Kate and Luke deciding they should date and be together? Or will their significant others in their relationships end up being 'the one'?

I don't know if I've ever written a more cliched plot description than that. I remember watching the trailer for this gem at some point late last summer, the thought that maybe it would be good, and then...it just wasn't. If you're looking to save 90 minutes of your life, just watch the trailer. It hits seemingly all the necessary plot points and then ends. Wanna know the catch? That's the entire movie. It doesn't get any better than that. The entire movie is based on the 1990s TV sitcom cliche that Pretty Girl A is meant to be with Quirky but Perfect Guy A. The problem? Pretty Girl A is with Quirky but Not Perfect Guy B. Quirky but Perfect Guy A....yeah, he's all over the place. I didn't like this movie, and I was real close to completely bailing late in the 90-minute flick. For you loyal readers, I stuck with it though.

If I'm going to criticize, I've got to have it all figured out, right? I watched this movie from director and writer Joe Swanberg and couldn't quite put my finger on it. Just about each and every scene had this weird tone to it, an uncomfortable back and forth, silences that are too long for their own good. These are conversations and dialogue that just seem, well, forced. Why is that exactly? The entire movie was improvised. Yes, Swanberg provided a rough outline for his cast to work off of, but nothing definite in terms of actual lines. Instead, the cast just went with it, making up dialogue as they want. You know what? It shows. Beyond any reality of the awkwardness of male/female relationships, there are too many scenes that are just uncomfortable to watch. They're either too short or gone on for too long. There is little to no rhythm from scene to scene, slowing down an already glacial-like pacing.

There is talent here though so there has to be something worth recommending, right? Nope, Swanberg's outlined script making it really hard to be sympathetic with any of the four main characters. We know basically from the start that Kate and Chris aren't going to make it, and that Luke and Jill similarly have some pretty serious issues to deal with if their relationship is going to last. Maybe it is the entire lack of a script -- just that lovely outline -- or just the acting in general, but I didn't like any of the four main characters. Wilde's Kate seems too dumb and goofy for her own good, Johnson's Luke is too nice and equally clueless, Livingston's Chris is just odd, always off a beat or two, and Kendrick's Jill is very twitchy and awkward and uncomfortable. The issues they're dealing with, their emotions and relationship struggles are all pretty real, not some contrived movie relationship issue, but the characters range from dumb to annoying to unpleasant and the story never brings any of it to life.

'Buddies' does take some interesting twists about the halfway point, but by then I was almost completely checked out. It had already dug its grave way too deep by that point. It ends on a disappointing note, not resolving much and leaving too many plates spinning all at one time. And then for a couple other things worth mentioning. Jason Sudeikis is the only other supporting part worth mentioning, Kate's absent-minded boss who tries to avoid work at all costs. Also, the film is set in Chicago, featuring references from everything to Revolution Brewery to random mentions of streets, schools and suburbs in the area. All well and good, right? Yeah, especially for Chicago viewers. It's all a cop-out I tells ya!!!! We never see Chicago in the least. What a city tease, Drinking Buddies, for shame.

A movie about late 20-somethings dealing with the hell that can be life (and set in Chicago) sounded moderately appealing even if the trailer was less than convincing. Nothing comes of it, the lack of a script being the biggest impediment to anything good as a finished product. It's called Drinking Buddies, and that's what we see, four people drinking a lot of beer (and some wine), brooding over their relationships, flirting with their friends, and in general, being pretty annoying. Steer clear, just go to a local bar and people watch. It'll be more entertaining.

Drinking Buddies (2013): */****

What to Expect When You're Expecting

Brace yourself, it's not just a change of pace review. It's a BIG change of pace review. No, not just a romantic comedy....a romantic comedy about pregnancy. Oh, the horrors!!! Enter stage right 2012's What to Expect When You're Expecting.

From different backgrounds, jobs, marital/relationship statuses, five different women are all about to find out they're pregnant. How will they and their significant other handle the pregnancy and all its fun? Jules (Cameron Diaz) is a host and trainer on a weight loss reality show when she finds out that her boyfriend of three months are pregnant. Holly (Jennifer Lopez) is a freelance photographer who can't have a child, but with her husband is looking into overseas adoption. Wendy (Elizabeth Banks) owns a store aimed at young moms and after years of trying with her husband has finally gotten pregnant. Rosie (Anna Kendrick) owns a food truck and is stunned to find out she's pregnant after a one-night stand with someone from her past. Let the pregnancy hijinks begin.

Yes, this was a movie pick of the girlfriend, not one I picked on my own. Go figure, I didn't love it, but I liked it considerably more than I thought I would. From director Kirk Jones and based on a series of pregnancy help books, 'Expect' earned a decent $26 million in the U.S. and $83 million worldwide. The reviews are almost uniformly negative -- 5.5 at IMDB at time of review, 23% at Rotten Tomatoes -- and maybe it's easy to see why. It covers a whole lot of ground in 110 minutes with ideas of what characters are more than actually delving into said characters. I don't know, maybe I'm catching myself on a frustrated, negative swing as I read reviews, but what do you expect from a flick like this? It clearly wasn't made to rewrite FILM itself. It's supposed to be fun, emotional and dramatic, all rolled up into one. I liked it so deal with it, Internet.

The recent trend in comedies is seemingly to get every single actor/actress currently working in Hollywood who's available at the time of filming and make a movie. We're talking He's Just Not That Into You, any Tyler Perry movie, Valentine's Day, New Year's Eve and probably many more I haven't seen and am forgiving. There's a lot of talent assembled here so regardless of the thin characters, it's cool to see. Let's get going because I'm wasting my nonexistent word count. Diaz's Jules is dating Matthew Morrison's Evan, a dancer on a Dancing With the Stars knockoff, the duo having met while dancing together on the show. Lopez's Holly is married to Rodrigo Santoro's Alex who's understandably a little freaked out about adopting an African baby. Ben Falcone is a scene-stealer as Gary, Banks' Wendy's husband, supportive as he can be while dealing with his own struggles. As Rosie's baby daddy, Chace Crawford plays Marco, a rival food truck owner.

There's plenty going on at basically all times but two key additions (in terms of subplots at least) end up bringing the entire movie up a notch. Dennis Quaid plays Gary's Dad, a former race car driver who's remarried a much younger woman, Skyler (Brooklyn Decker), and is similarly pregnant. The dual pregnancies becomes a bit of a rivalry between father and son, Wendy's proving rather difficult, Skyler's the definition of ease. The other has Santoro's Alex introduced to a Dad walking club in hopes of getting him used to the thought of being a father, the group including Chris Rock, Thomas Lennon, Rob Huebel, and Amir Talai with Joe Manganiello as their single friend they all envy. Rebel Wilson is funny as Wendy's assistant and co-worker without a filter, Wendi McLendon-Covey as Lennon's husband and Holly's boss.    

With an almost schizophrenic, episodic story, things never slow down. The story bounces pretty seamlessly from woman to woman, ranging from montages at ultrasounds to all of them going into labor the same exact night and going to the same exact hotel. Crazy, huh?!? What are the chances?!? Maybe it is because the story is so quick, but there's no time to look for plot holes or analyze too much as to any faults or issues. There are some really dark moments -- one pregnancy ends in miscarriage -- and the finale has a twist or two (sort of, not really ;)). Harmless, entertaining story that I enjoyed more than I thought I would. Besides, even if it was really bad, you could just sit back and watch all the talent. Either way, it's a win.

What to Expect When You're Expecting (2012): ***/****

The Company You Keep

Fully content to direct films as he likes and sees fit while also staying in the background of the Sundance Film Festival, it's easy to forget what a legend Robert Redford really is. He's one of the few remaining legitimate screen legends from the 1960s and 1970s. When he does make a film -- directing/acting -- moviegoers and fans should jump. Or as the case with 2012's The Company You Keep, he does both, directing and acting.

A single dad with an 11-year old daughter and his own private law practice, Jim Grant (Redford) is still adjusting to a new life since his wife died over the last few years. He's approached one day in his office by a young journalist, Ben Shepard (Shia LaBeouf), investigating a story about the recent arrest of a woman who was part of a murder/bank robbery in the late 1970s, the woman a member of an underground peace movement. Jim is less than interested in helping, making Ben that much more curious. He investigates further and finds out why. Jim Grant is not who he's saying. In fact, he may have been a part of the underground movement and one of three suspects at the bank robbery turned murder. The FBI is quick to pounce, but it's already too late. Jim is on the run and looking for someone from his past. Ben meanwhile is continuing his investigation and starts to question if maybe he's stumbled upon something else.

Not surprisingly, I think the best thing going for this film was that Redford and his talents are associated with it. While it received mixed reviews -- 56% at Rotten Tomatoes, 6.3 at IMDB -- and wasn't given much of a chance in theaters, 'Company' is successful because it is content being exactly what it is. No explosions, no gunfights, no real chases, just a smart political thriller that for the most part kept me interested throughout. I think at times it is a little sluggish, lacking a certain energy. On the other hand, it is always refreshing to watch a well-made thriller that doesn't resort to any common denominators. As many other reviews point out, it may be most successful because it shows what happened to the 1960s/1970s revolutionaries. Full of fire and brimstone 30 and 40 years ago, what did they do after their revolutionary times had passed? It's an interesting premise and jumping off point.

So hold the gunfights, explosions, chases and ultra-quick editing, and what is Robert Redford's character? It reminded me slightly of Jason Bourne, a man on the run and desperately trying to evade his pursuers until he can prove what he needs to prove. In his first acting role since 2007's Lions for Lambs, Redford doesn't disappoint, bringing a character to life we think we know all about only to learn more and more. We see him with his second life of sorts, caring for his 11-year old daughter, Isabel (singer Jackie Evancho). We learn he regrets certain incidents from his past and is desperately working to right wrongs. Like few others, Redford does it with relative ease, a cool factor on display like few others working in film or in any other era. Now 77 years old, Redford is as cool as ever. His acting roles are fewer and far between of late so appreciate them when they come along.

Oh, by the way, most of Hollywood is also in this movie. Apparently a whole lot of very talented individuals wanted to work with Redford because he assembles a cast that is ridiculous top to bottom. I'm coming around a bit on Shia LaBeouf who does a fine job here as an investigative journalist, Ben, who finds out a story needs to be fully investigated before reporting on it. It's an interesting character arc. Who else? How about Stanley Tucci basically making a cameo as Ben's hard-edged, tough editor. How about Terrence Howard as the lead FBI agent pursuing Redford's Jim with Anna Kendrick as a young agent on his team? Oh, and there's also Chris Cooper as Jim's younger brother, Brendan Gleeson as a former police chief with lots of info, Stephen Root as a friend seeking Jim's help and Brit Marling as a college student Ben meets in the course of his investigation.

Wow, that's a pretty impressive cast. Huh? Oh, there's more? Yes, it continues. There are other key parts with Julie Christie playing a woman from Jim's past who he desperately needs to talk to with Sam Elliott, Nick Nolte and Richard Jenkins all playing key figures from Jim's revolutionary underground past. And yes, Susan Sarandon plays an accomplice of sorts to the murder that sets the ball in motion. With this much talent, some of the parts are really just extended cameos, but the pure acting depth here is amazing to watch. Yes, maybe it is only a scene or two, but it's fun to watch all these very talented actors and actresses do their thing.

If there is a weakness here, it's in the final 30 minutes of a 122-minute long movie. The build-up can be slow at times, but the mystery and all the unanswered questions pick things up as needed. Unfortunately in the final half hour, the script resorts to too many past ideologies and principles that drove these characters back in the 60s and 70s. It doesn't quite limp to the finish line, but it's not quite the snappy ending I was hoping for. Things are wrapped up a little too nicely, a little too tidy. That said, I still feel very comfortable recommending this film for any number of reasons, ranging anywhere from the very impressive cast to the general throwback feel of a good, old-fashioned political thriller. A good movie, and that ain't a bad thing.

The Company You Keep (2012): ***/****

End of Watch

Being a police officer is one tough job, but I think there's one American city where it may be a titch bit worse, according to the movies that is. That city is Los Angeles where movies like Training Day, Colors, Dark Blue, Rampart, Street Kings portray a living hell of crime that police officers must deal with. Adding another name to the genre, here is 2012's End of Watch.

Partners since they graduated from the academy together, Los Angeles police officers Brian Taylor (Jake Gyllenhaal) and Miguel Zavada (Michael Pena) are good at what they do, really good. As patrol officers, they're constantly working in the most violent, vicious parts of South Central, dealing with turf wars, arms dealing and rival gangsters. Beyond their partnership as police officers, the duo are best friends, bonded and extremely close through years of working together. As patrolmen, they feel somewhat limited though, questioning what they really accomplish from day-to-day. Working a routine shift though, Taylor and Zavada make a big bust featuring assault weapons and thousands of dollars hidden away. The day-to-day routine wears on them mentally as they see more and more of what people can do to each other, but with this seemingly normal stop, they may have stumbled into something deeper and far more sinister.

From director David Ayer, 'Watch' is interested in the reality of being a Los Angeles police officer. He cut his teeth on similarly dark-themed cop movies like Street Kings and Harsh Times while also writing Dark Blue, Training Day and S.W.A.T so in a way, he's created this Los Angeles cop sub-genre. Gyllenhaal's Brian is filming a short film for a class he's taking so he constantly carries a handheld camera while also attaching miniature cameras to both his and Miguel's uniform. We see the horrors of being a police officer from their point of view. We're on the ground with them, on patrol, in their car, making arrests. We see it all. It's an alarming, unsettling look at the life, one that in a film or real life, gives you an appreciation for what beat cops go through on a day-to-day basis.

The main dynamic here is between Gyllenhaal and Pena, and that's most definitely a good thing. These two young but experienced cops are the same age. So often, cop movies have a grizzled vet and an enthusiastic newbie, but that's not the case here. Taylor and Zavada are on the same page, are near similar milestones in their lives, and even their differences are able to bring them together. Ayer's script is ripe with those buddy moments, two brothers-in-arms busting each other mercilessly, the type of dialogue that flows naturally and effortlessly. It reflects a genuine friendship as two very talented, very skilled actors play off each other perfectly. Brutal realism aside, I thought the strongest part of the film is that relationship. Its a buddy relationship at its best. We watch, and it doesn't feel like acting, just the natural bull-shitting back and forth between two best friends who have been through the ringer together.

In a quasi-documentary format, 'Watch' follows our two lead officers closely, but we see all the aspects of their jobs and lives. The story is episodic, covering eight to nine months in a 109-minute movie. Taylor ends up marrying girlfriend Janet (Anna Kendrick), but we really only see two brief interactions between them before the marriage. We hear more as he talks with Zavada. We meet Miguel's wife, Gabby (Natalie Martinez), we meet fellow officers (menacing David Harbour, capable America Ferrera, and confident Cody Horn), superiors on the force (Frank Grillo and Jaime FitzSimons), and the gangsters, crooks and witnesses they meet from day to day.

The one thing that bothered me is both good and bad. Using the documentary style, there is a focus on handheld camera work. In small doses, that's a good thing. In bigger doses.....yeah, it's an issue. It becomes repetitive quickly, the act wearing thin quickly. The biggest problem is the counter. At times....at times, it does work because we are on the pavement with them. It's personal. It's emotional. It's hard-hitting. My other issue is a little more delicate. The story leans a little toward the cliched, even stereotypical in its portrayal of the gangland fighting between African American and Hispanic gangs. To a point, it's based in the truth to the real-life gangsters (I imagine at least, I've never been to South Central L.A.), but the portrayal was just too much for me, like Hispanic gangster Big Evil (Maurice Compte) explaining his nickname "My evil is big."

While the story leans in the episodic vein, the focus hones in on a more specific story in the final 45 minutes. Introduced early, we see Brian and Miguel get caught up in a drug cartel, one that doesn't appreciate any attention from two lowly, patrolling beat cops. The intensity and action gets ratcheted up, especially when the cartels go on the attack. It builds to an emotional ending, but one that disappoints at the same time because it doesn't go far enough. It almost does....almost...., but it goes for a safer ending. Still effective, just not as effective as it could have been. That said, the final scene is a gem, a great caper to an above average police story. Familiar at times but very good.

End of Watch (2012): *** 1/2 /****  

50/50

I call it Garden State Syndrome, a little known disease that afflicts certain movies. You know the type. Small-scale, well-written, ultra-personal stories with emo drama and dark comedy of people in their mid 20s adjusting to life and all its little intricacies. Oh, don't forget the indie rock soundtracks. It started with 2004's Garden State, by all means a really good movie but not the end-all, be-all classic some made it out to be. When I saw the preview for 2011's 50/50, that was my first thought. Uh-oh, here we go again, even despite my interest/curiosity. So where did it fall?

A 27-year old living in Seattle, Adam (Joseph Gordon-Levitt) has a pretty cool little life for himself. He has a good job at a Seattle public radio station, lives with his girlfriend, Rachael (Bryce Dallas-Howard), and still gets to hang out with his longtime friend, Kyle (Seth Rogen). Experiencing some back pain though, Adam visits a doctor and gets some startling news. He has a malignant tumor on his back, and his chances are about 50-50 that he'll survive it. His world thrown on its side, Adam tries to fight through his new huge problem, going to a psychiatrist while undergoing chemotherapy. The thought lingers though. No matter what he does or doesn't do, it might not make a difference. He could still die, and he can't control it in the least.

From director Jonathan Levine, '50' avoids most of the trappings of the always dangerous Garden State Syndrome. Yes, there's the indie rock soundtrack (I get it....you're unique), but the overbearing message of how life is so tough to get through isn't an issue at all. Sure, a healthy, normal 27-year old gets a curveball thrown his way, but it never becomes condescending. Adam struggles with his situation -- who wouldn't? -- but '50' never tries to shove sympathy/apathy/emotion in general down your throat. The movie ends up being a huge success because it just does the opposite. It shows the situation as it is -- Adam struggling to adjust, his friends and family trying to help and cope however they can -- without aggressively telling you how to feel about the movie and the developing story.

Like other indie dramadies (that's comedy meets drama) that works so well, '50' does have its moments of brilliance. It goes back to the personal level Levine tells his story from. The humor is of the dark variety, never any obvious laughs which come from the real interactions -- both positive and negative -- between people who care for and love each other. Adam shaving his hair before chemo can do it before him with Kyle's....body hair trimmer?....is an inspired scene, Rogen making that scene with his most likely very natural reaction. Adam's scenes with his fellow chemo patients (Matt Frewer and Philip Baker Hall) are both funny and emotionally tough to watch, three very different individuals bonding through their similar struggle. The most effective is Adam telling his mom, Diane (Anjelica Houston), he has his cancer, a mother acting about how you'd expect. These moments don't feel forced or faked. They end up feeling very real, and the movie's that much better for it.

It seems like a long time since Joseph Gordon-Levitt was a co-star on 90s sitcom Third Rock from the Sun, but here we sit. Gordon-Levitt is fast becoming one of the most talented young actors in Hollywood, and the man's got some versatility. Big blockbuster? Inception. Thriller? The Lookout. Personal drama? Here we are. He's very natural in his characters, and seeing his transformation here as he deals with the different emotional levels of trying to survive cancer can be difficult to watch at times. It certainly helps that we see his friendship with high school buddy, Kyle, played by Rogen. That genuine relationship was what I took away from this movie. They talk, argue, debate and BS each other like long-time friends would. Understandably stunned at his friend's news, Kyle tries to help him out however he can. I loved the dynamic these two had, especially as Adam gets further and further into his chemo therapy. Two talented young actors who help carry the movie.

That's not to forget about the rest of the cast. Houston is a heartbreaker as Diane, Adam's mom. She's caring for her husband (Serge Houde) who has Alzheimer's and doesn't realize Adam is even his son. It's a quick part -- only 3 or 4 scenes -- but a very strong one too. Anna Kendrick is perfectly cute as Katherine, Adam's psychiatrist, a student still working toward her doctorate and thrown into the fire immediately. Dallas-Howard better be careful too. She's very good here, but I wonder if she's being typecast a little bit, considering this part and in Hereafter two years ago. A very talented actress, but hopefully she isn't forced to take similar roles repeatedly. Frewer and Baker Hall as fellow chemo patients Mitch and Alan are especially good too, including one scene late as they join Adam and Kyle for a medicinal marijuana session.

I really liked the whole movie, but I really loved the last half hour. I won't go into details or spoil anything, but it is a very effective ending. The drama and emotion kicks into high gear as we see these very likable, very real people we've gotten to know forced to deal with issues you'd hope you could avoid your whole life. Also, great final scene and final shot, aided by Pearl Jam's Yellow Ledbetter. Excellent movie, one you should definitely check out.

50/50 <---trailer (2011): *** 1/2 /****

Up in the Air

I watch my fair share of 'big' movies, stories where the fate of the world or a country depend on one key moment.  Those tendencies goes well with war, action, Bond, superheroes, anything similar because a bigger scale is key to their success.  So watching those movies, it can be an enjoyable twist to just watch a movie every so often that is about one or two people and who they really are as individuals.  You don't need supervillains trying to take over the world, or a country about to go under.  It was a critical favorite, but I missed it in theaters, 2009's Up in the Air.

The economic struggles the world has gone through in the last half-decade or so sets the groundwork for this story.  Companies and corporations worldwide were forced into firing thousands of employees because the money just wasn't there to pay them their salaries.  Families and individuals alike were forced to improvise on the fly and adjust to their new job-less lives.  But what about when a company/corporation wanted nothing to do with the actual firing process?  That's where Up in the Air steps in with the always cool, always suave George Clooney handling the firing duties.

Working for a nameless company, middle-aged Ryan Bingham (Clooney) spends 300-plus days a year traveling across the country going from company to company helping them fire their employees one-by-one in  a face to face situation.  It's a horrific job, but Bingham is good at it, and even weirder than that, he likes it.  Bingham lives out of his suitcase and dreads the time he has to spend at his bland, sparsely decorated apartment in Omaha.  He's called back to headquarters though where a new hire fresh out of college, Natalie Keener (Anna Kendrick), has brought in a new technology that will erase the need for Ryan and his co-workers to travel to these places, instead firing people on a computer.  But first, Ryan's boss (Jason Bateman) wants him to take Natalie on the road for a few weeks and show her how it's really done.

Nominated for a handful of Oscars including Best Picture, Best Directing, and three different acting categories, it's easy to see why director Jason Reitman's movie did so well critically and in theaters pulling in over $80 million.  Just like Reitman's Juno, it's a slick, professionally made movie that reeks of talent in front of and behind the camera.  The dialogue is quick and sharp as the characters talk in ways that ordinary people could never sound like, and the story has a visual edge as Ryan's airport/hotel life is shown in detail, quick cuts and all.  This might sound negative, but it really isn't.  It sounds like I'm resenting a movie that is well-made, but if anything it's too well-made.

Starting with the casting, the three main parts are all home run roles, all of them earning an Oscar nomination but none of them winning.  Clooney is a great actor, and about as safe as an actor currently out there in terms of turning in a great performance.  He somehow makes Ryan a likable character even though there's not much to root for in terms of personality, beliefs, or principles.  Bingham is charming though and that always helps.  He has an interesting relationship with a woman, Alex (Vera Farmiga), who is basically the female version of him. Neither is really looking for any sort of commitment, and in that way they bond.  Playing Natalie, Kendrick is the anti-Ryan so she naturally clashes with him, especially forced to work with him on the road.

Joining Bateman in the supporting cast is a handful of comedic actors who get to show their dramatic chops off.  In some cases, their appearances aren't anything more than a minute or two, but even with a limited amount of time they come across well.  J.K. Simmons and Zach Galifianakis play two employees at different companies Ryan must fire, each of them handling the news in their own unique way.  Melanie Lynskey and Danny McBride (in dramatic scene-stealing mode, one monologue especially) play Ryan's sister and her husband-to-be with Amy Morton playing the sister trying to bring the family together.  Also look for Sam Elliott to make a quick appearance.  In a nice touch, Reitman also had actual fired employees play themselves in many scenes, giving an authentic feel to these already difficult scenes.

For me I thought the movie was at its best when sticking with Ryan -- and later Natalie -- on the road as they travel from airport to airport, always moving to another company that needs help.  There's drama, some dark humor thrown in, and a style that is visually pleasing and enjoyable to watch.  The story goes downhill a bit at Ryan's sister's wedding though, and even though it features some fine moments, it feels a little off.  The last 30 minutes featured a twist that I saw coming but was still bothered by it because one, it brings up some big plot holes, and two, I didn't like the revelation a character makes.  Still, the first hour builds up a lot of credit so the struggles in the second half aren't a deal breaker.

The ending itself is far from a happy ending, but it works for the Ryan character.  Depressing?  You bet, but it comes together for me.  Ryan's changed, but at the same time he hasn't.  He wants something else, but maybe he is too scared to look for it, or maybe he just doesn't know where to start.  It was a bit of a jarring ending, especially considering the last line.  You may not like the ending -- I didn't -- but for a realistic, feasible way to end the story, it fits together.

Up in the Air <----trailer (2009): ***/****