The Descendants

I do not know the book inspiring the film. But the film is real seductive for the fresh honesty. For the performance of George Clooney. For atmosphere and for the realism of the clash between generations. The delicate humor, the nice performances, the story are few virtues defining a beautiful film about family, death, secrets, courage, reconciliation with yourself, new beginning and duty. So, a beautiful film.

Alexander Payne hasn't made a film from the director's chair since his incredible Sideways back in 2004. Seven years later, he finally returns, and with The Descendants, he returns with a bang.

Like Sideways, his screenplay (co-written by Nat Faxon and Jim Rash) nails the tone right on the head. It has to balance out three tricky narratives in the film (Matt King's self-crisis, his comatose wife's affair with another man before her boating accident, and a land deal he's reported to make), and without the proper guidance it needed, along with Payne's own confidant direction, it could have faltered. Thankfully, it balances out heavy themes and complicated emotions in uncommon detail.

The characters in this movie are many, complicated, and sorrowful in their own unique ways. Matt King was a perfect role for George Clooney. He keeps his composure, but we can still see a very heavy, filtered sorrow beneath the surface. Shailene Woodley's character (Woodley, by the way, gives one of the year's best performances) begins with a rebellious, even angry sadness, but we can see her develop over the course of the film, gaining a strong maturity beyond her years. Judy Greer and Robert Forster are each given a few spare scenes, and they make every second of their screen time count.

It really is an emotional ride, even depressing sometimes, but I'm surprised by the occasional review I read where critics say they didn't feel the emotion to be sincere. In my opinion, the emotions of the film never hit a single false note. I don't think just anybody could have made this movie the way it is. This isn't a typical drama, the movie's genre is Payne, and he knows exactly what he's doing.

***1/2 out of ****

I love the freedom oozing from Alexander Payne's films. The clarity and simplicity of the idea and its execution. All the answers and unity found under a grieving cloud. George Clooney's Matt King is, quite simply, superb. The humanity of the man mingling with his contradictions. So refreshing to spend time with this immediately recognizable man. I couldn't help but loving him. If it's true that Clooney dominates the film, he is surrounded by compelling characters. His eldest daughter, played by the remarkable Shailene Woodley for instance or her boyfriend, a winning Nick Krause, contribute to make "The Descendants" one of the best films of 2011.

This drama offers nothing that unique, it's just really well done. I was moved by the incredibly realistic, raw and deeply complex characters and relationships. They're written, directed and acted brilliantly. These and other film techniques evoke in the audience a wide range of emotions that are exactly what you would expect people in the characters' circumstances to be experiencing. Confusion, grief, frustration, anger and a lingering solemness are just some of the things I was positioned to feel so profoundly alongside the characters. These things justify the grave narrative in a truly impacting way. The characters and plot are definitely the highlights, although there are also several well-crafted and highly relevant themes and perspectives woven into the film, that add more layers of brilliance to an already great watch. There's also not much in the movie that's not purposeful. Great examples of this are the setting and soundtrack, which not only aid the plot but also develop mood and help construct the messages being conveyed. There are also some genuinely funny moments scattered throughout. All of these things combine to produce a viewing that is immensely enjoyable, impacting and thought-provoking. If you haven't seen The Descendants yet, I'd highly recommend it.

With the promising cast, an interesting subject matter, the substantial awards attention, the critical acclaim and being familiar with and highly appreciating much of Alexander Payne's work (especially 'Sideways', his recent film 'Downsizing' is an exeption), interest in seeing 'The Descendants' was high.

On the most part, after finally seeing it, 'The Descendants' delivers. It's not perfect and it doesn't quite make it in my list of my favourite films of 2011. It's not Payne's best or my favourite of his, as indicated already that's 'Sideways' while also loving 'About Schmidt' and 'Election'. Its many good points however are outstanding and far outweigh the issues, making it a very good film and almost (but not quite) great one. Considering though that it had all the ingredients to be great, that it wasn't quite gave a slight air of disappointment.

'The Descendants' may not say much new or deep, for a film with heavy and complicated themes this will disappoint some, part of me thought in places things could have gone into more detail.

A few parts came over as being too convenient in occurrence and resolution. Perhaps there could have been less narration, which actually isn't that irritating or over-used but the film would have worked without it.

However, 'The Descendants' is gorgeously shot, making the most of and clearly loving the picturesque Hawaiian locations and landscapes that makes one want to book a holiday there immediately. The use of traditional Hawaiian music on the soundtrack gave the film authenticity and added a lot to the mood of the story, especially in the more melancholic elements that are enhanced by it. Payne directs with his usual wit and warmth.

Payne's script is a large part of 'The Descendants' success. There is a lot of poignant pathos that does give enough depth to the melancholic element of the story, but it is balanced beautifully with a sincere honesty, thoughtfulness, glowing warmth and humorous comic elements.

Admittedly the story is deliberate and it's not the most insightful or breaking-new-ground there is, but the sympathetic tackling of the heavy and complicated personal themes really strikes an emotional chord and the warmth and gentle tone make it interesting. The characters are written well and the father and daughter relationship has a lot of heart and one of the film's biggest strengths.

George Clooney gives one of his finest performances in a challenging role that he brings a lot of layers to. The performance of Shailene Woodley is similarly among the year's best yet criminally overlooked, a very heartfelt, engaging and beyond her years turn. The rest of the cast are just as affecting (particularly Judy Greer and Beau Bridges), while there's welcome levity from Nick Krause, as one of the more rounded supporting characters, and a surprisingly good Matthew Lillard (was expecting him to jar seeing as he tends to play goofballs yet here in a less likeable role in a gentle drama).

Overall, very good and could have been great with just a few tweaks. 8/10 Bethany Cox