British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
With his wife Elizabeth on life support after a boating accident, Hawaiian land baron Matt King takes his daughters on a trip from Oahu to Kauai to confront the man who was having an affair with Elizabeth before her misfortune. Written by
In the original novel, Matt's wife's name was Joan. In the movie, it was changed to Elizabeth. See more »
On the plane to the island to meet Brian Speer, Cousin Hugh is clearly seated in the row directly behind the actors. See more »
My friends on the mainland think just because I live in Hawaii, I live in paradise. Like a permanent vacation. We're all just out here sipping Mai Tais, shaking our hips, and catching waves. Are they insane?
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The rare fuse of amazing direction and brilliant performances
It has been quite some time since the Toronto International Film Festival, but I still have trouble coming up with something negative to say about The Descendants. It was a film I was immensely excited to see, and one that I think I just managed to squeak into on the second last day of the festival. I tried to not overhype myself, but with George Clooney teaming up with Alexander Payne, a filmmaker whose last film was made almost a decade ago, I could barely contain myself.
Matt King (Clooney) just found out that his wife is in a coma in the hospital. Matt has always been one to put things off, and has never really found time for his kids. But in this time of need, he finds that he is struggling to identify with older daughter Alexandra (Shailene Woodley) and younger daughter Scottie (Amara Miller). When he learns of a stunning secret about his wife, it thrusts him into an adventure alongside his daughters to find out the truth, while also finding himself.
From beginning to end, Payne has crafted an endearing film that is hilarious and devastating, often in the same sequence. This is a more calculated family-related effort than I originally thought it would be (with a bit too much emphasis placed on the extended family and land owning subplot), but it is the driving force of everything that happens on-screen. He never overindulges, and never gets too far ahead of himself. He lets the drama play out just as much as he does the comedy, and always keeps the film moving at a borderline ridiculous pace. This may be an indie, but it speaks more to the mainstream than Sideways ever even tried to. It is a truly spectacular work, and one that proves the worth of a talent that has been gone for far too long.
While he already solidified his leading man status years ago, Clooney quite simply knocks this one out of the park. It is not the typical role we are accustomed to seeing him in, and I think that is what sells it the most. This is a very mature role for Clooney, away from the playboys, the lotharios and the screwballs. He is out of his element, much like the character he is playing, thrust into a situation he never expected in a very adult way. He plays Matt in a very nuanced way, always hovering along the fine line of being a struggling parent and having a full blown emotional breakdown. Clooney has continually proved that he is willing to reinvent himself, and his work here is no different. From the moment he steps on-screen, you are simply enamoured by his presence. We can see the brief twinkle in his eye that suggests he is still the Clooney we all know and adore, but his hardened exterior suggests he is trying to camouflage that fact. I said years ago that Up in the Air was his strongest work. But his work here makes it look positively amateur in comparison.
For all of Clooney's brilliance, it is surprising to note that Woodley almost steals the movie entirely away from him. While she has had quite a lot of experience on television, this is her first real film role and is an immeasurable breakout. The trailer suggests she is a bit of a wild child, but seeing the heartbreak and pain in her face after she finds out what has happened to her mother is enough to make you want to weep uncontrollably. Lucky for her, she gets more than one scene to prove her emotional chops, and she nails each and every one. She holds her own against Clooney, and has just the right amount of charisma and angst to make her character above and beyond believable. Her struggle to find her place and to help her father on this adventure is the emotional crux of the film, and the real driving spirit. She may be extremely younger than Clooney is, but she is an old soul. Their relationship and chemistry is amazing, and should she have been acting against a less capable actor, I doubt she would be anywhere near as powerful as she is.
The supporting cast, made up of Beau Bridges, Judy Greer, Nick Krause, Robert Forster and an almost unrecognizable Matthew Lilliard, are all excellent in their small roles. All of them get some really memorable moments to shine, and help to make Clooney and Woodley's performances even greater. Special mention needs to go to both Patricia Hastie, who is confined to a hospital bed for all but about thirty seconds of her screen-time as Matt's wife Elizabeth, and newcomer Miller as Scottie. She is naive and innocent throughout, never once coming off as that annoying kid you try to forget exists. She has a lot of fun in the role, and strikes a real emotional chord at just the right moments. I can only hope directors continue to use her in the future for roles that are just as good, if not better.
It may have taken me practically two months to write about it, but I still find myself at a loss for words about The Descendants. It is finally rolling out into theatres now, and I cannot wait to see the film again. The cast is amazing, with Clooney coming out swinging. Payne may have taken his time finding a follow-up for Sideways, but what he has returned with is nothing short of amazing. Run, drive, fly whatever you have to do, just make sure you do not miss it.
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