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Up in the Air (I) (2009)

 -  Drama | Romance  -  23 December 2009 (USA)
7.5
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Ratings: 7.5/10 from 237,414 users   Metascore: 83/100
Reviews: 435 user | 378 critic | 36 from Metacritic.com

With a job traveling around the country firing people, Ryan Bingham enjoys his life living out of a suitcase, but finds that lifestyle threatened by the presence of a new hire and a potential love interest.

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(novel), (screenplay), 1 more credit »
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Title: Up in the Air (2009)

Up in the Air (2009) on IMDb 7.5/10

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Nominated for 6 Oscars. Another 88 wins & 102 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Amy Morton ...
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Bob
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Young MC
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Conference DJ (as Cut Chemist)
Adrienne Lamping ...
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Storyline

Ryan Bingham is a corporate downsizing expert whose cherished life on the road is threatened just as he is on the cusp of reaching ten million frequent flyer miles and just after he's met the frequent-traveler woman of his dreams. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

Arriving soon See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for language and some sexual content | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

23 December 2009 (USA)  »

Also Known As:

Amor sin escalas  »

Box Office

Budget:

$25,000,000 (estimated)

Opening Weekend:

£1,298,023 (UK) (15 January 2010)

Gross:

$83,813,460 (USA) (2 April 2010)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

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Sound Mix:

| |

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Both screenwriters Jason Reitman and Sheldon Turner never met or even knew from each other during writing the screenplay. When the novel was released in 2001, Turner read it and wrote a spec script adaptation which he sold to Dreamworks in 2003. However, Reitman also discovered the book and persuaded his father Ivan Reitman to acquire the film rights. Ivan Reitman then commissioned a screenplay by writers Ted Griffin and Nicholas Griffin who used some elements from Turner's spec script. Finally, Jason Reitman developed his own screenplay by using some elements from the Griffin script that (unbeknownst to Reitman) originated with Turner. Reitman initially claimed a single screenplay credit for himself but the WGA ruled that he should share his credit with Turner as certain elements of his spec script remained in the film. See more »

Goofs

Even very frequent fliers are required to have their membership card swiped by the desk agent at the Admiral's Club. (It's the only way for AA to know how busy a given club is.) The most that would happen if they know a traveler really well is that they wouldn't ask to see their photo ID in addition to your Admiral's Club membership card. See more »

Quotes

[first lines]
Terminated Employee: This is what I get in return for 30 years of service for my company? And they send some yo-yo like you in here to try to tell me that I'm out of a job? They should be telling you *you're* out of a job.
Terminated Employee: You have a lot of gall coming in here and firing your number one producer. And then you're going to go home tomorrow and make more money than you've ever made in your life, and I'm going to go home without a pay check. Fuck you.
Terminated Employee: I just... I guess you leave me dumbfounded. I don't ...
[...]
See more »

Crazy Credits

Over the end credits, the camera glides over the clouds. Much like the view from a plane. See more »

Connections

References Amélie (2001) See more »

Soundtracks

Genova
Written by 'Charles Wyatt (II)' & Matt Greenberg
Performed by 'Charles Atlas (III)'
Courtesy of Charles Atlas
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Frequently Asked Questions

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User Reviews

 
I'm like my mother, I stereotype—it's faster … Up in the Air
19 September 2009 | by (buffalo, ny, usa) – See all my reviews

Based on the novel by Walter Kirn, George Clooney stars as corporate downsizing expert Ryan Bingham, who is hired to help ease the transition of long-term employees to the unemployment line across the country. Taking his job very seriously and loving the 290 days away from home—the only problem with that is the 70 days at home in his empty apartment—his world gets turned upside-down when a young upstart in the company threatens to ground the company to fire people via the internet. Not standing for a change in his life, nor the chance for his life goal of total airline miles to end, ("Let's just say I have a number and I haven't hit it yet"), he goes on a mission to prove how personal his job is and how key a face to face meeting can be to talk down an emotionally unstable person and really do the victim a service in an otherwise horrible moment in his life. Along the way, he and the recent college grad, of which the boss loves due to her budget slashing game-changing idea, Natalie, played by Anna Kendrick, both find out what has been lacking in their lives and how to become better people, opening up to love, heartbreak, and the need to grow up.

Clooney's Bingham is the loner businessman whose only relationships exist from random meetings with attractive females at the multiple airports he frequents. His wallet of plastic has become his lifeblood—credit cards from airlines that accumulate his mileage, hotel status perk cards that let him cut the disgruntled travelers and go straight to the front, and numerous room keys that never seem to be thrown out, causing him to always use more than one before finally opening his hotel suite's door. Detached from his family for years as the brother that exists but cannot be counted on for anything, he contemplates whether he should, or really wants to, attend his sister's wedding—the little girl of the family and someone he should have been involved with after the passing of their father. A series of style cramping incidents for him begins with a phone call from his other sister and the request to take a cardboard cutout of the happy couple, (Melanie Lynskey and Danny McBride, in a role that might actually show some nuance for a guy that usually flies by the cuff), and photograph it in front of famous places he travels to for work "like that French gnome movie,"—I love the Amélie reference. Then comes the threat of being taken out of the air, his home for decades, in order to impersonally let go more people more efficiently; the challenge of taking Natalie on his next schedule of jobs to prove to her why the new system won't work; and the addition of a love interest in Vera Farmiga's Alex, a woman who describes herself to him with "just think of me as you with a vagina"—one of many great lines.

There is a lot of subtlety and intricate weaving of plot lines throughout the story, details and sequences that need to be seen fresh to get the full benefit of the film. What you might initially think is a witty comedy about a jerk of a guy who not only thinks he's better than everyone else, but actually is, that either finds the error of his ways or gets dropped down a peg or two, eventually becomes a tale chock full of heart and emotion. The real success story of the film is a revelatory performance from Clooney who really knocks this on out of the park. He always showed the charisma and chops to play confident and successful, but here is allowed to also branch out and express the pent-up frustration that comes with isolated loneliness, the passion one can have for a job that seems horrible, yet, when treated carefully, is a job to take seriously, and the compassion for humanity on the whole, softening enough to realize that there are people around him that need help besides his laid off strangers, help that only he can provide. The evolution he undertakes is really pretty amazing and I credit Kirn, Reitman, and Clooney for pulling it off with grace and laughter.

Every single actor is unforgettable—even the bit parts like Zach Galifianakis and especially J.K. Simmons as two corporate employees who's jobs have been eliminated. Jason Bateman is hilarious as Clooney's smug boss, fully embodying the take no crap nonchalance he made famous in "Arrested Development"; Farmiga is gorgeous and competent to be able to go toe-to-toe with Clooney in the detachment and power-hungry attitude of flying in style for half a year or more; and, if George's reinvention of character is revelatory, then Kendrick's naïve Natalie is masterful. This girl was top in her class, able to get a job in her field wherever her heart desired, yet settled for this firm specializing in firing people so as to not dirty the workers' real superior's hands. Young and confused about life in the big world of adulthood—set on a plan for marriage and children to occur as though set times on a clock—her eyes are opened to the intimacy and fragility with which a person's mental state can be affected by mere words. When you put them all together, Up in the Air resonates on so many levels; deserving of any praise and accolades to be bestowed upon it. Hilariously funny every second of the way, it is still unafraid to dig into the dark moments of life and treat them with respect and relevancy, going places you wouldn't think it would have the guts to go. You really can't say too much about the film, a top ten of the year entry for sure. Reitman proving to be a force to reckon with and Clooney that he just keeps getting better with age.


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