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(More customer reviews)As someone who has both laid off staff and a year later, became the victim of a layoff after twelve years with the same company, I had a personal interest in seeing how director/co-screenwriter Jason Reitman (Thank You for Smoking, Juno) was going to adapt Walter Kirn's smart, unsettling 2001 novel. Even though eight years have elapsed since the book's publication, the filmmaker - along with co-writer Sheldon Turner - manages to deepen Kirn's themes in this wry, emotionally resonant 2009 dramedy and make them even more relevant with the pervasive downsizing of corporate America. The movie also manages to surprise even when certain plot turns seem evident before they occur. Initially, there is a veneer of cynicism that makes you think the story will be an abject lesson in the impermanence of life, but instead, it evolves into one man's journey into the heart of the emotional turbulence he had been careful to avoid. Toward that end, Reitman seems to be inspired by Alexander Payne's equally perceptive road movies, About Schmidt and Sideways, films that reflect a similar storytelling style.
The plot focuses on laser-sharp corporate layoff consultant Ryan Bingham, a man who regales in the impermanence of life by traveling 322 days on the road, informing targeted employees that they are about to lose their jobs. There is a necessary callousness in his approach, but he knows it's necessary to be present and honest when it comes to conveying the unpleasant news. Bingham is also a motivational speaker who espouses unburdening one's life of possessions and fitting everything essential within the confines of a backpack. Proving his case, he lives in hotels, airplanes, and airport terminals with his one life goal being the seventh person to collect ten million frequent-flier miles. If you can get past the Spartan one-bedroom apartment he keeps in Omaha for the 43 days he is forced to be at home, the hatchet man appears to lead a charmed if rather solitary life. Complications, however, ensue on both personal and professional fronts.
Bingham meets a fellow transient traveler named Alex Goran in an airport lounge and assesses that he may have found his soul-mate, so much so that he invites her to come to his estranged sister's wedding in Wisconsin. Meanwhile, Bingham's boss wants to introduce a new strategy proposed by a fresh-faced, post-grad school upstart. New hire Natalie Keener suggests using remote teleconferencing to perform the layoff notifications. Since the new technology is the antithesis of Bingham's one-on-one method, he brings Natalie along on the road to show her how it can't possibly work. In a role that feels custom-tailored to all his strengths, George Clooney plays Bingham with an emotional precision that complements his charismatic persona which pivots between swaggering and self-effacing. On one hand, it's his most definitive movie-star role, and yet Clooney has never revealed as much about himself onscreen.
The always watchable Vera Farmiga (The Departed, Down to the Bone) is sexy and confident as the woman who seems perfect for Bingham, even though their adroit compatibility could not possibly sustain an actual commitment. Their interplay is fun to watch because there is a Cary Grant-Rosalind Russell-level rapport that keeps both on their toes. Anna Kendrick (Twilight) is winning as Natalie even if her character's naiveté feels a bit manufactured at times. Jason Bateman has a field day playing Bingham's smarmy boss, while Amy Morton, Melanie Lynskey, and Danny McBride (Pineapple Express) plays their accustomed types with aplomb as members of Bingham's immediate family. In cameos, J.K. Simmons (Juno) and Zach Galifianakis (The Hangover) sharply play two of the victimized employees, but for the rest, Reitman uses non-actors replaying their recent experiences of getting laid off. As usual with Reitman's films, it boasts an eclectic soundtrack that works really well with the storyline.
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Up in the AirRyan Bingham (Academy Award® winner* George Clooney) is truly living the high life. Flying all over the world on business, he never stops moving...until he meets Alex, a fellow passenger and learns that life isn’t about the journey, but the connections we make along the way. Acclaimed by critics and audiences everywhere and included in over 200 top 10 lists, "Up in the Air is light and dark, hilarious and tragic, bouncy and brainy, romantic and real."*- Owen Gleiberman, ENTERTAINMENT WEEKLY
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