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.
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
While at Lambert Field in St Louis, Ryan tries to make an impassioned speech to Natalie about Charles A. Lindbergh's plane 'The Spirit of St Louis'. Officially, Lindbergh's plane was a Ryan NYP (New York to Paris) so the two share the same name. As a tribute to Charles Lindbergh, the airport displays a prop Spirit of St. Louis used in the James Stewart movie of the same name. See more »
The movie shows Ryan going in the AA first class line, checking in at a kiosk and then being greeted by a counter agent. They do not put kiosks directly in front of the first class check-in agent. If there is one there (which is rare), it will be off to the side. Finally, the whole point of using the kiosk is to NOT talk to the person at the counter, so even if he had used the machine, he would not be greeted by anyone. See more »
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.
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.
I just... I guess you leave me dumbfounded. I don't ...
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Over the end credits, the camera glides over the clouds. Much like the view from a plane. See more »
So 2009, and the decade known as...(what do we call this decade?), are ending later this month. And there is no better film to wrap up a (frankly) terrible decade (in terms of news events, unemployment, the economy, the media stronghold, the trashing and dumbing down of American culture, technology, narcissism, vanity obsession, a divided nation, violence and hostility) than Up in the Air. The film, the best I've seen all year and one of the best of the decade, captures many of the factors that made this decade the worst one, at least in my 42 years. The 70s may have been bad economically but hey, at least we had Bruce Springsteen and real music on the radio, women still seemed to like men and not only if the men were millionaires, thoughtful movies in the theater, and only five or so TV channels to pick from. Up in the Air features George Clooney as a man with no "roots," (that is, no wife, no kids, and his apartment in Omaha is about as furnished as a room at Embassy Suites), who fires people for a living because the companies who hire him are too cowardly to do it themselves. It is a juicy role for Clooney, who has made a career out of playing easy-talking charmers. The film sounds depressing and in many ways it is, but it is also witty, quietly hilarious at times, and full of pathos when it becomes a morality piece near the middle (and like the best morality pieces, it doesn't shove its message down your throat). It reminded me in many ways of American Beauty, the masterpiece that capped off the '90s when it hit theaters ten years ago. Clooney's character slowly is stripped of the things he only cared about--including a one-night-stand that becomes a "Same Time Next Year"-like meeting in Hampton Inns and Hiltons in Miami, Detroit, Wichita and other random cities, with another constant traveler (we never know what exactly she does, and that's not supposed to matter) played by Vera Farmiga, who may win an Oscar nomination for her mysterious, slightly passive and jaded, 30something character. The final important character is an eager young Cornell graduate (played by Anna Kendrick, from Twilight) who thinks that a career in firing people is a wise choice now, and in some respects she's not that far off. Her character represents many of the Twitter-obsessed twentysomethings driven for money money money, who live for texting, and has naive and even immature ideals of what makes a relationship work. But she too goes through a transformation, as Up in the Air reaches a "feel good while feeling bad" quality of Frank Capra's darker films, like Meet John Doe. One of the most amazing things about this film is its use of real people in the "firing scenes;" people who have really lost their jobs several weeks or months before being filmed. Director Jason Reitman combines scenes of these people being fired by Clooney and Kendrick, and their instant responses are wholly authentic. There are a few actors playing the "firees" as well, but they blend in with the real folks. I really can't think of a better film to cap off this decade. This one will stay with you. Highly recommended.
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