Up in the Air: Up in My Heart

There are ten films nominated for the Best Picture Oscar this year. Think about it: TEN. There are usually half that many nominated. The Academy will have a difficult decision to make this year; all ten of the films are (obviously) different, in terms of genre, style, and levels of "good"ness. Jason Reitman is finally nominated this year, for his modern dramedy Up in the Air. George Clooney stars as Ryan Bingham, a perpetually traveling expert at firing people. When an up and coming co-worker (Anna Kendrick) shakes things up by suggesting firing by teleconference, his world of airports, hotels, and airplanes is threatened. To try and salvage his way of life, he takes her on a trip to show her what it's really like. Along the way, Ryan forms a relationship with Alex, a fellow cross-continent trekker, and attempts to bond with his sisters. Ultimately, Ryan finds out the best ways to interact with those around him, and starts to find some small comforts in finding "home."

It's honestly an interesting film. It's partly a tongue-in-cheek commentary on the country's current economic situation, as well as our blasé sensibilities when it comes to travel. One of Ryan's primary goals in life is to accumulate 10 million miles traveled, in order to gain some vague sense of prestige, as well as his place as the seventh (and youngest) person to achieve this "honor." He makes several references to the fact that he's traveled more miles than it would take to get to the Moon, but treats it as a joke. That's a lot of miles, a lot of travel, and he gathers miles like philatelists gather stamps, or numismatics gather coins. It's a hobby which becomes a way of life; he doesn't mind his job, at all. He takes offense to Natalie's (Kendrick) idea to teleconference their contracted firings, because he doesn't want to be in one place for too long.

Jason Reitman knows how to direct a good movie. And he should, given that he's Ivan Reitman's kid, the mad genius behind Ghostbusters and Stripes. However, he's taken a different stylistic path, choosing to produce and direct quirky, character-driven dramas with plenty of comedy. His previous films, Juno and Thank You for Smoking are both at once hilarious and down to earth; based on pure character and dialogue, with understated camera work and set design. He takes care to showcase the performance of his actors, allowing his directing, the costumes, editing, and general mise-en-scéne enhance the characters rather than overshadow them. All too often a director will focus on style and forsake substance; there's no reason that you can't do both, and Reitman proves it yet again.

Clooney is brilliant as always; he's transitioning quite well into the "older" gentleman roles, accepting the fact that, as a non-Highlander human, he's going to get older. This isn't to say that he's "old," or grandpa-ish. He still projects strength and energy; however, he finds himself in a situation that he's so far withdrawn from that he barely knows how to think about it. He manages to flounder without struggling, which is no small feat.

Vera Farmiga and Anna Kendrick are powerful juxtapositions in their characters; Kendrick is young and inexperienced, yet bursting with ideas and a desire to make her mark. Farmiga is more experienced, both as an actress and in her character, but she's a great companion for Clooney's character. Ultimately, she's simultaneously more grounded and much more detached than even he, much to his disappointment.

Jason Bateman, J.K. Simmons, Zach Galifinakis, Sam Elliott, and Danny McBride each have memorable cameos; Bateman as Clooney's boss, J.K. Simmons and Zach Galifinakis as employees that Clooney must fire as part of his job, Sam Elliott as an airline pilot, and McBride as Clooney's future brother-in-law. Although their roles are brief, they help expand and root Clooney's character, giving him someone to interact with. Luckily, he finds himself surrounded by capable co-stars, each playing off one another. Another interesting juxtaposition to the ida that his character is adrift, alone and surrounded by people.

Bottom line is I'd recommend seeing this film. I hope it wins some Oscars (I know it won some Golden Globes). I'll probably be buying it when it comes out on DVD. It's funny, it's sweet, it's sometimes sad, but it's ultimately fulfilling and enlightened. I give it four large caches of random hotel room keys out of five, or four cardboard couple cutouts out of five.

9: Out of 10, Essentially

I like cartoons. I especially like cartoons geared for adults, or at the very least older teens. Though many cried shenanigans at the evident similarities between Shane Acker's 9 and the game Little Big Planet, the similarities are superficial and at the very least unfounded. 9 is a sprawling, fast-paced dark fantasy. It starts too fast, but it keeps a steady pace and eventually, the audience catches up. Part Matrix, part Dark Crystal, part Toy Story, it's definitely a post-modern futuristic fairy tale for the new millennium. How's that for a sound bite, huh?

In an undisclosed future, deadly machines have taken over the planet, seemingly killing all living things. A misunderstood scientist creates a super-brain machine which inevitably churns out deadly Rube Goldbergian machines, warring with humanity. To save life, this same scientist built nine machines, each imbued with a portion of his soul. The ninth machine awakens with no understanding of this world, stumbles across the other eight machines, and makes a final stand against the re-awakened machine brain to restore life to Earth.

It's rare for an animated film to be so bleak. It's completely refreshing. Shane Acker's personal stamp is all over this film, and it's very clear that this is a personal vision. The characters are interesting; they represent the nine parts of a man's soul, yet have different personalities, strengths, and appearances. Even though he supposedly created the 9 concurrently, the materials used to construct them seem different; additionally, the length of time between the first doll and the last seems pretty ambiguous.

At first, it's hard to get into, simply because it launches into the story when 9 awakens. The reason behind the existence of the dolls isn't revealed until halfway through the film. Up until that point, it's primarily for the enjoyment of the computer generated effects, the bleak, stark apocalyptic world that these tiny dolls inhabit. And when you first see a mechanized robot with a cat's skull and razor claws? Or the pterodactyl made out of knives and scissors? That is some interesting stuff.

Overall, it's a visually stunning achievement in computer animation, and refreshing to see it from a basically independent animation team (i.e. not from Dreamworks Animation, Disney, Pixar, etc.). It's as cute and fantastically frightening as you're liable to see the apocalypse. Oh, yeah, and it has a pretty stellar voice cast: Elijah Wood, Christopher Plummer, John C. Riley, Martin Landau, Crispin Glover, Jennifer Connelly... All great actors and lend superbly emotive voices to these odd little burlap dolls.

I'll have to give it four crazy-ass flying razor-bird monstrosity things out of five, or four oddly Nazi-ish human oppression turned death-machine fodder out of five.

(500) Days of Summer: A Romance for the Unromantic

I've been meaning to check out (500) Days of Summer for awhile, and the Lady and I finally received it via Netflix last week. We watched it instead of watching the end of the Golden Globes, and it was pretty decent. I've pretty much always liked Zooey Deschanel, ever since I saw her in Mumford. I liked Joseph Gordon-Levitt when he was on 3rd Rock from the Sun, and I also liked him in Brick, so I'm enjoying his current rise to prominence.

Tom Hansen (Gordon-Levitt) works for a greeting card company. When Summer Finn (Deschanel) starts working there, he develops a crush, and they strike up a relationship. Unfortunately, she doesn't believe in love, and he's falling head over heels into it for her. Told in a Tarantino-esque disorganized fashion, jumping around between the beginning, middle, and end of their 500 days, s he realizes he may have over-romanticized their relationship, and comes to grips with reality versus expectation.

It's a very cute movie, and surprisingly funny. Gordon-Levitt swings wildly between hopeless romantic, heartbroken cynic, exhausted by his lost love, nearly insane from it, and darkly humorous. Zooey is adorable, finicky, and engaging. There's a musical number where Tom sings and dances in the street with passersby in a perfectly synchronized "random dance" sequence. There's even an animated bluebird. The scenes where his younger sister (played by Chloe Moretz) are precious and amusing, where her 12-year-old character dispenses more intelligent advice than his loser friends (and yeah, he seems to only have these two guys for friends). It has a good, moderately happy ending (where the main character quits his crappy job and starts pursuing architecture more seriously), all thanks to the crazy relationship he just got out of.

The costumes and production design was amazing, as well. The story bounced around between the days, always with an intertitle listing the day, and showing a summery-looking scene at the beginning, and a dreary wintery scene in the relationship's decline. In an especially affecting shot, the world around Tom washes out from the real world to a smudgy drawing to nothing but stained paper, with his silhouette remaining in the center of the frame, casting a lonely shadow.

I liked it, it was cute, funny, and despite the wacky musical number and an especially interesting scene showing the side-by-side "reality" and "expectation" of a party, the characters are pretty realistic. It's not really a chick flick, because Gordon-Levitt is so entertaining and Deschanel is just so damn cute. It's also not a bad romance, either. It's not like "Autumn in New York," it's more like "When Harry Met Sally," just with a different kind of nice ending.

I give it four depressed greeting card writers out of five, or four adorable bows in Deschanel's hair out of five.

Terminator Salvation: Little to Salvage

Let me start off by saying this movie isn't as good as the previous films in the franchise. I would venture to say that Terminator 3 was better than this. I'm a pretty big fan of the franchise, though I never really got into the TV show. Mostly because it departs from the timeline set up by the films. I've also seen the mini-movie Terminator 3-D at Universal Studios. First off, Salvation is rated PG-13, while all the others are rated R. Typically, this tactic is in a futile attempt to draw a larger audience (as R rated films restrict teenage viewers). Featuring Christian Bale as John Connor, Bryce Dallas Howard as Kate Connor, Sam Worthington as Marcus Wright, Anton Yelchin as Kyle Reese, and featuring Helena Bonham Carter, Common, and Roland Kickinger as the T-800, complete with a CG-mapped Arnold face.

In the year 2018, the machines (or more accurately humanoid robots equipped with guns) have dominated the world, and the remaining humans either hide or fight back as the Resistance. John Connor, now in his early 30s, is a commander of sorts. Many higher-ups in the Resistance don't believe he's the true prophet, although many people do. He encounters Marcus Wright, a man executed for murder in 2003, mysteriously up and around. Turns out, hey-oh, he's a cyborg! Cyberdine (a subsidiary of SkyNet or some such) harvested his body for science, and genetically engineered him to be mostly machine. There are lots of robot fights, explosions, driving around while robots fight and there are also explosions. Christian Bale uses his Batman voice, and Bryce Dallas Howard's character is pregnant, though never commented on, addressed, or mentioned whatsoever.

There are lots of little nods to the franchise throughout the film. Most of the robots are familiar, and there are loads of new ones (including ones that look like motorcycles, ones that look like sharp eels, and ones that look like humans. One of them even looks like that guy from Avatar, before he becomes a 12-foot Smurf shaman, or whatever. That's a review for another day. Someone also says "Come with me if you want to live!" which is almost always a good line. According to the trivia on the IMDb, even Kyle Reese's Nikes are similar to the ones that the "future" Kyle Reese wore in the original Terminator movie. However, extreme anal-retentive attention to detail does not a great movie make. The first Terminator film was directed by James Cameron, the man who directed two of the top-grossing films of all time, Acadamy and Golden Globe winner, etc. etc. etc. McG directed... Charlie's Angels. You can see where I'm going with this.

Most critics agree that Sam Worthington's performance is one of the best in the film. It's also nice to see Anton Yelchin, whom I primarily know from Charlie Bartlett and Star Trek. Supposedly, Yelchin studied Michael Biehn's performance as the original Kyle Reese to mimic his mannerisms and movements. He gives an intense and heated performance, a teenage boy who thinks he's tougher than he is, idolizes John Connor (his own son, crazily enough), and displays intelligence and intensity without much control. Worthington was an unknown before this film, though he was working with Cameron on Avatar first. Cameron recommended Worthington to McG for the role of Marcus Wright. Between this and Avatar, and the upcoming remake of Clash of the Titans, I expect to see more of him in the future. Bale gives a typical performance, I'm sorry to say. Not that he's awful, or anything. He was just like a dirty Bruce Wayne with his Batman's voice, though it was interesting to see the character of John Connor as an adult. Bryce Dallas Howard gives a decent performance, though her character (or perhaps herself in real life) is pregnant, which I would assume could be a bigger plot point given that it's John's child. However, it's never mentioned, alluded to, or acknowledged in any way. Oh well, I guess.

It's entertaining, though, which is better than nothing. It's worth a rent, and is good for some pretty crazy action scenes, good effects on the machines, and an interesting look at the future that Linda Hamilton spent two movies trying to prevent. I give it three and a half robot heart transplants out of five, or three and a half fake computer-generated Arnold Schwarzenegger robots out of five.