"The Descendants", familiy troubles of a back up parent

The Descendants

Let's face it. It has to be me. I guess I don't get Alexander's Payne movies. I wouldn't say I don't like them, but they leave me indifferent. Wasn't moved by "About Schmidt", found "Sideways" a lucid entertainment, but not the masterpiece many point out, and sorry, I can't add more than this sort of vague comments to the "The Descendants". An ok film, but not an unforgettable work, or a "movie of the year". 

To me, Payne's best works are still "Election" and "14e Arrondissement", the short-film included on the otherwise mediocre "Paris, Je T'Aime". That little gem of less than 7 minutes is really touching and emotional without needing to force any dramatic premise, even including a subtle dose of humour, as seen from the outside, life is full of comic situations.  

To my understanding, Payne's movies have a lot to do with literature. You can easily see how he cares about their characters, wanting to show the many sides we have as humans. I imagine (haven't read it) the book in which it is based has to be a detailed insight of the King's family, in particular of Matt King's, being, as he says at the beginning of the film, the back up parent, has to deal with parenthood, death, a poignant secret now revealed and heritage (that finally is left almost unexplored). But, being honest, I doubt he succeeds showing on screen all the complexities such detailed characters should require.  

Matt, despite the excellent performance of George Clooney, who does a lot without saying too much, is a blurred character. The spectactor has to assume he had a passive attitude in the past, regarding his wife and daughters. He is overwhelmed by the turn of events. He is confussed, appalled. And then, suddenly, he decides to almost "hunt" for someone (no spoiling). Sure, that drastic change of behaviour/decision, justifies the plot of the film, but really fits with Matt ever-present composure?

Then, we have the two daughters. Of course, every person deals with sorrow in a different way, but again, it was very hard for me to believe the role of Alexandra, the eldest daughter, played by Shailene Woodley. Both her previous, rebellious attitude, as well as her transformation towards a mature woman seems are pretty incredible for a seventeen year-old girl. Many other secondary roles appear, some rewarding, like Judy Greer's, others a bit insipid, as the youngest daughter, and finally, other that only exists to help defining Matt's character, as the one played by Robert Forster.

The tone of the film is also unbalanced. We could argue that being "The Descendants" an emotional voyage, the mix of depressing and pleasant moments is quite "real", but I'm afraid I have to agree with the occasional review saying they didn't feel sincerity on the emotions. I wouldn't say they are false, but they look a bit flat, a bit too polished, a bit off-beat. The whole film flows in a dull dynamic, as it it were "infected" by the peculiar "rythym" of Hawaii. This is, of course my personal opinion, but I couldn't see the grandeur of this film. It might be me.

SCORE: 5,25/10

"The Ides of March", the politics of betrayal

The Ides of March

Loyalty and betrayal are always relevant topics, whether we are talking about personal relations, work, or, like "The Ides of March", about politics. Being such a delicate subject for a film focused on a democrat's primary elections, the risk of resulting forced, or a caricaturisation, or a preachy and unwanted moral lesson, was obvious, but George Clooney and his top-notch cast achieve what seemed almost impossible due the nature (and development) of the film: leaving us wondering about the characters while our bowels are still shaking.

Because "The Ides of March" is bleak, even to the point of depression. It doesn't talk about material corruption, something that's so frequent around us that for example in Spain that our government has decided to concede an amnesty (sorry for the side note, but this is so shameful I will need to vent it from time to time). No, its much worse. Its about human condition and its corruption, its degradation. In that sense, the film is not just a political thriller-drama (as director, Clooney uses wisely both styles/tones). It's about people taking chances, some of them based in their aspirations and some even in their "ideals", and how these decisions turn into dramatic consequences, affecting others, and forcing the adoption of new measures. Come hell or high water? That's the dilemma that the movie poses, and Clooney's message, although somewhat open, is discouraging for humans.

As Clooney did with the brilliant "Good Night, and Good Luck", he directs, co-writes (again with Grant Heslov plus Beau Willimon, author of the play "Farragut North" in which the film is based) and acts. He excels in the three areas, showing a firm pulse in what regards to style, close to the 70s (but the good, meaningful seventies, recalling Sidney Lumet's films) and aplomb on the script, with a rewarding care on the actors.

And of course, we need to talk about the cast. Philip Seymour Hoffman, Ryan Gosling and Paul Giamatti together, plus Clooney? How can someone do wrong with such a trio of amazing actors? The scenes between Gosling and Giamatti are superb, and the same can be said about where Gosling and Hoffman share the screen. Unfortunately, there aren't "duels" between Hoffman and Giamatti (they only share one scene). I have goosebumps just thinking of that possibility. Evan Rachel Wood, Marisa Tomei and the aforementioned are equally excellent in their secondary roles. Side note: the reasons why Gosling is among the best actors I have seen in decades can be clearly found in "The Ides of March" (or "Blue Valentine"), not in "Drive".  

I do believe "The Ides of March" could have even been better, though. The story itself , the thriller that "explodes" and justifies the superficial development of the film is a bit questionable, allowing Clooney the "cat and mouse" games that, in my opinion, are a bit too spectacular, drifting from 0 to 100% too fast. But I do understand that what lies behind of these "games" are just for the sake of showing human behaviours when they are put into so much pressure and tension, when their career and ideals are confronted, when anger shows, when they fear loosing, and when their (our too) miseries are revealed. "The Ides of March" shows, that politicians (Republicans and Democrats, both get their share), journalists (Clooney hits hard again here, so deservedly) can be as mean as human. All our doubts, complexities, insecurities, ambitions and miseries are reflected on Gosling's face at the unforgettable final scene of the film. Yes, we can (be like that).

SCORE: 7,5/10