New slick comedy-drama from the award-winning director of Juno, Jason Reitman.

Director: Jason Reitman
Starring: George Clooney, Vera Farmiga, Anna Kendrick
Running time: 109 mins

In Jason Reitman’s new film Up In The Air, George Clooney plays Ryan Bingham, self-confessed lover of the business and executive class lifestyle, spending more days ‘up in the air’ than days living life on the ground. His job is to fly to different cities across the USA to various company offices to fire employees because the people they work for haven’t the heart to do it themselves. The vacuous corporateness and emptiness that others find so repugnant is Ryan’s lifeblood. Until his life takes an unexpected and unwelcome turn in the form of bright new upstart Natalie (Anna Kendrick) whose ideas and plans would bring Ryan’s jet setting to a grinding halt.

In Up In The Air, Jason Reitman seems to have produced two very different films in one: the first two-thirds of the film explore the executive void of Ryan’s life and his contentedness with it, whilst it being under threat from a ’shift in company direction’ from Natalie’s cost-cutting and economising ideas. This is a slick corporate world, driven by money and a veneer of politeness with complimentary bath robes thrown in, a world which is well executed by Reitman. However, the problem comes when Ryan seemingly begins to question his values and moral behaviour and starts to view his life from a different perspective. From this point onwards the film changes tone entirely – almost like you left the cinema screen to get more popcorn and wandered into a different screen, except the characters are the same, just playing out a different story. And this is where the film inevitably falls down. Without giving too much away, the last third becomes more of a family centred tv movie than a glossy and hip George Clooney film. This tone change has a sadly negative impact on the film, as Reitman seems unable to follow through his initial ideas to the end with adequate conviction. On paper, the film works fine – on celluloid it fails somewhat.

However, all the ingredients of the film are essentially very good. George Clooney, while simply doing his charming, golden matinee idol smile that he seems to have patented, is very good and likeable as ever. Vera Farmiga as Clooney’s female opposite is also good, providing a convincing twist in the final act that comes as a genuine surprise. Anna Kendrick however delievers a standout turn as the young and naive Natalie, building on her solid work in Twilight as Jessica Stanley.

The script is well written and delivers some laughs, and there are some nice visual gags – most notably, the pilot’s ridiculous moustache which provided me with one of the biggest bellylaughs since The Hangover. In contrast too there are some genuine moments of shock, pathos and poignancy, with Natalie’s ill fated relationship and the fateful effects of some of the employees being let go from their jobs. The film is well directed, well acted and well scripted, just not really thought through, needing the courage to avoid the now hackneyed ‘man on a journey’ plot and stick to its guns of vapid corporateness and the emptiness so loved by the George Clooney character.

Engaging, witty, entertaining and funny, just not as good as expected.

Rating: MMM

Review of extra-terrestrial sci-fi thriller District 9 produced by Peter Jackson (The Lord of the Rings) and directed by Neil Blomkamp

Director: Neil Blomkamp
Starring: Sharlto Copley, Vanessa Haywood, Jason Cope, Louis Minnaar, David James
Running time: 112 mins

WARNING: This review contains PLOT SPOILERS

In District 9’s fictional 1980s, an alien mothership comes to a mid-air standstill over the South African city of Johannesburg, subsequently bringing an alien species to Earth – the residents of a far distant planet who soon come to make their homes in the city’s outlying scrubland, district 9. The human inhabitants of Johannesburg however become prejudiced, intolerant and aggressive towards the new alien immigrants, becoming hostile and giving them the slur of ‘Prawns’ for their Piscean appearance. This prejudice develops into outright social unrest, forcing the government to serve ‘eviction notices’ and re-house the aliens. However, as one might expect with moving an entire colony of people, the government’s plan is met with unexpected problems.

District 9 begins with documentary-style footage of the mysterious alien spacecraft coming to a halt over South Africa’s second city and talking heads discussing the social and cultural impact the alien visitors had on the country, thus presenting the film’s premise  - a plot which has many elements of a more pedestrian film but is never clichéd, having a certain quality of freshness about it. This is partly due to the distinct socio-political commentary that runs throughout the film, touching on themes of racial intolerance, discrimination and autocracy, the plethora of social problems still alive in South Africa in the aftermath of apartheid – a commentary which to this critic at least, is one of the film’s trump cards.

The other is the performance of Sharlto Copley as main protagonist Wikus van der Merwe – the head of the government led team in charge of moving the alien community from their homes in district 9 to what is effectively a concentration camp. Copley plays Wikus as essentially an everyman, but one for which there is great deal of of moral ambiguity, rendering him a more intriguing character as a result. The supporting players are also very good, in particular Louis Minnaar and David James. However, credit must go to the CG artists in charge of rendering the facial expressions and twitches of Christopher Johnson (the main ‘Prawn’ character), conveying as much emotion and inner turmoil as we see in his human (and non-CG) counterpart Wikus.

District 9’s shaky, steadi-cam driven visual style, while not being in any way innovative (seen memorably before in The Blair Witch Project and more recently in Cloverfield), seems fresh, unique and completely in keeping with tone and plot, making a perfect marriage between the two. The presentation of the Alien technology and weaponry is equally good, as is Wickus’ agony and visceral disgust at his physical transformation into one of the ‘Prawn’ species, presented in horrific detail that will have those more lily-livered audience members squirming in their seats. As thrilling as all this is however, the film loses pace in a tricky third act which plods along comparatively slowly compared to the rest of the film.

District 9’s climax sets up the possibility for a sequel naturally, in a subtle way that leaves room for the story to continue, an exciting prospect with a film this promising. A well structured, thought provoking, thrilling and thoroughly entertaining alternative to the regular Hollywood sci-fi gloss – hopefully in the future we might see a District 10.

Rating: MMMM

Review of sunny, seasonal romantic-comedy, (500) Days of Summer, starring Joseph Gordon-Levitt (‘3rd Rock From The Sun’) and Zooey Deschanel.

Director: Marc Webb
Starring: Joseph Gordon-Levitt, Zooey Deschanel, Clark Gregg
Running time: 95 mins

From its breezy, whimsical and original opening titles to its warm-hearted closing moments, ‘anti-romantic comedy’ (500) Days of Summer succeeds in bringing something new to a stale and formulaic genre (see article) – that of the aforementioned rom-com.

Where (500) Days of Summer breaks away from its predecessors is that we are told from the very start that the boy-meets-girl relationship we are about to see is one that does not end with our hero and heroine living happily ever after together. Yet this does not hamper the film as a consequence. In fact, knowing this enhances and colours (for the better) our judgment of Tom (Joseph Gordon-Levitt) and Summer’s (Zooey Deschanel) relationship in each section of the narrative.

Like Eternal Sunshine of the Spotless Mind before it, (500) Days of Summer presents the trajectory of a couple’s relationship from start to finish out of chronological order, from day 1 to day 500 – the number

of which is presented by brief intertitles throughout the film – a technique which often makes for interesting and intriguing drama and does so very successfully here. And again, similar to Eternal Sunshine, the film is told from the man’s perspective, a plot device fundamentally crucial to the film’s premise but one which is fresh and original; one of the failings of contemporary rom-coms is that the overwhelming majority are based on female perspectives and hackneyed ones at that.

In terms of acting, the two leads are very good and always utterly convincing as the mostly endearing and sympathetic characters they portray. Joseph Gordon-Levitt in particular should be singled out for plaudits, as his co-star Zooey Deschanel seems to be merely displaying an amalgam of her assorted ‘kooky female’ roles in her performance as the eponymous Summer. Having said this, Deschanel maintains a balance between charming and aloof which at the climax of the film, seems to be a fair summation of Tom’s feelings for her. It may just be unfortunate that Deschanel keeps being offered this kind of alternative yet cute character – she is in real danger of being typecast.

Along with great acting and a fresh premise, where the film also charms is in its design (not that the film prioritises style over its substance) and tone. Where other films exert their American-ness, (500) Days of Summer has more of a European feel: Tom and Summer take a trip to Ikea, not Pottery Barn; Tom listens to melancholic British indie rock music; the movies that display Tom’s misery are burlesques on the films of the Nouvelle Vague.

(500) Days of Summer is a quirky, original and well written ‘anti’ romantic-comedy that ends on a warm high note despite the guy not getting his summery girl.

Rating: MMMM