A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover "home" on their own terms for the first time.
Burt Farlander and Verona De Tessant are a couple steeped in eccentricity and irregularity but are very much in love. So when they find out that Verona is pregnant they seem to be taking it in their stride. Verona is enjoying pregnancy, Burt is already practicing skill that he believes a good father should have, and they living in the same state as Burt's parents, Jerry and Gloria, so that their prospective daughter can have grandparents. However, things are shaken up when Burt and Verona go to dinner at Jerry and Gloria's house, as Burt's parents reveal a surprising piece of news. They have decided to move to Antwerp in Belguim a month before the baby is due, scuppering Burt and Verona's plans of having their children's grandparents around. Because Verona lost her parents when she was relatively young, she finds this news very hard to take, but the resilient couple quickly find a way to turn it in to a positive. It becomes obvious that this is what the pair needed, as they decide to ... Written by
When Burt and Verona board their train to go to Wisconsin, they step into one of Amtrak's curved-sided, late-twentieth-century "Amfleet" cars (a type of car in which no sleeping accommodations currently exist). The train appears to consist largely or entirely of such cars. In the next shot, however, the interior of their car is seen to be that of a mid-twentieth-century North-American-type sleeping car, one that would have to be straight-sided in order for the bunks shown to fit into the room as they do. Later, Burt and Verona are shown sitting at a table in another straight-sided mid-twentieth-century car, a dining or lounge car (it's not clear which) that does not resemble any such car that Amtrak has used in the past twenty-five years or more. See more »
She had another miscarriage.
Yeah. This is her fifth. I know she loves all those kids like, like they were her own blood. But, I wonder if we've been selfish. People like us we wait till our thirties and then we're surprised when the babies aren't so easy to make anymore and then every day another million fourteen year olds get pregnant without trying. It's a terrible feeling, this helpless, man. You just watch these babies grow and then fade. You don't know...
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Away We Go (2009), directed by Sam Mendes, is a road movie with a difference. Many road movies involve strangers met by the protagonist as he or she travels from place to place. Away We Go sends the two main characters into different locations, but all the people they meet are people they already know, or think they know.
When Verona De Tessant (Maya Rudolph) learns that she is pregnant, the question for her and her partner, Burt (John Krasinkski) is, Where do we live after the baby is born? To answer the question, they travel from distant (U.S. and Canadian) city to distant city. Mostly what they find is disappointment and bad surprises.
Lily (Allison Janney), a former boss and friend, proves to be a dysfunctional person raising a dysfunctional family. A "cousin," LN (Maggie Gyllenhaal) gives new meaning to the words New Age. Verona's sister Grace (Carmen Ejogo) has her own problems and heartaches.
There are jokes (and laughs) along the way, but, the trip gets more and more discouraging (for them and us) as the movie goes along. What saves Verona and Burt (and the movie) is the loving, caring, and realistic relationship between the couple. They're both interesting, quirky, and attractive people. We care for them, and we want their quest to succeed.
Both Janney and Gyllenhaal are outstanding--as expected--although Mendes has portrayed both their characters in an exaggerated, over-the-top fashion. That's OK--we get the point, and the movie is a work of fiction, not a documentary.
Maya Rudolph makes a smooth transition from TV (SNL) to film. She's not drop-dead beautiful in the Hollywood style, which makes her more attractive (to me) and more appropriate to the character she plays.
Burt's character is more problematic. He's supposed to be someone who "sells insurance to insurance companies," but he looks and dresses more like an assistant manager at a fast- food restaurant. (He goes to a job interview dressed like someone who has picked out his clothing at a thrift shop.) And, given his moderate success in business, and Verona's equally moderate success as a medical illustrator, they're amazingly casual about spending money. Are they using their life's savings?
All in all, this is a movie worth seeing, but not likely to be on anyone's list of all-time favorite movies. We saw it at the excellent Little Theatre in Rochester, NY. It would also work well on DVD.
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