Away We Go

i just got back from a pre-screening of this in Dallas, and i must say i really enjoyed it. it seems like the whole audience enjoyed it as well, the theatre was often filled with laughter throughout this wonderful film.

i'm a fan of Sam Mendes' work, and his work excelled here in the realm of comedy. John Krasinski and Maya Rudolph shared great chemistry as a couple expecting their first child and trying to decide where to settle down and raise their family. it's a bit of a coming-of- age story about people who should have already come-of-age, as we travel across the country along with them meeting quirky parents, friends, and old schoolmates.

it's not all laughs, though. there are plenty of serious and introspective moments and my hat is off to Ms. Rudolph, generally known for her skills in comedy, for adding fine dramatic moments to her character. in the end, this movie doesn't offer any solutions to life's quirks, but it looks at them and even celebrates them.

it's not Mendes' best film, but it's a very enjoyable film with a great cast and lots of laughs, and should appeal to a pretty wide audience. it's a breath of fresh air from all of the Hollywood flash and crap that will be slopped across theater screens this summer. go see it!

It's always great to see good directors develop and go in different directions. Just in the past few years, I've seen some of my favourite directors "evolve" and direct works that are quite uncharacteristic of their previously established styles, be it David Fincher with his emotional and romantic The Curious Case of Benjamin Button or Paul Thomas Anderson with his monumental character study There Will Be Blood. Sam Mendes, one of the most fascinating and talented directors working today, has so far delivered four very precise, calculated, ambitious and large-scale films, which is why it was interesting to discover that he of all directors was behind a quirky, lax, unhinged indie dramedy.

Actually, after watching the film, Mendes' style is quite noticeable. Although it's a very loose and small-scale human comedy, the film's aesthetic is still very formal, featuring symmetrical compositions and fluid camera movements. The lighting is top notch and in general it's an indie film that has a very high-quality look, clearly Mendes' stamp. Mendes is a very interesting director in that sense, because despite his being one of the most visually striking and prominent directors working today, with his last four films being among the most gorgeous-looking films in recent memory, his origins are on the stage, and that background is actually very prominent in this film.

Plot-wise, this film tells a story that we have all seen before – the road trip movie. Specifically, it's a film about unconfident people going out on the road in order to discover themselves. And yet, screenwriters (and novelists) Dave Eggers and Vendela Vida manage to craft unique and identifiable characters and through their journey create what is essentially a parable about relationships and self-discovery. The main couple is expertly played by John Krasinski and Maya Rudolph, who really play against type: Krasinski is known as the quiet and awkward Jim on The Office while in this film he is very confident, outgoing and funny; Rudolph, on the other hand, is known for her outrageous roles on Saturday Night Live while in this film she plays a more mellow and peaceful character. The story establishes a series of supporting characters who are also expertly played by a very impressive supporting cast; Maggie Gyllenhaal and Allison Janney particularly stand out as friends of Krasinski and Rudolph, respectively, who provide very opposite views about life and long-term relationships.

Ultimately, this is a fun, well-made, enjoyable, quirky little indie film; it's funny and charming and light-hearted while also delivering an interesting and thought-provoking parable about marriage, long-term relationships, life and the various approaches couples have to all those things. That said, I think that the film might even be too quirky and precious for its own good; these elements that often lead to such fantastic films as Little Miss Sunshine or Juno to get derided by the cynics don't often bother me, but in this film, I think that it's preciousness kind of takes away from the audience's connection with the characters. I can't quite put my finger on it, but all I know is that while the film is good, I felt a much stronger connection with the characters in another indie film from this year, (500) Days of Summer.

This film is about an expecting couple who travels around the country to try to find a perfect place to start their family.

"Away We Go" is slow and plain. The characters and the story are not developed enough to make me care about them. I almost feel that the couple is being irresponsible by travelling around according to their moment's fancy. I just cannot connect with their mindset at all, and hence I find the whole film a pointless and tedious bore. The only redeeming feature is Maggie Gyllenhaal's enchanting performance as a new age person, which consolidates her already strong CV.

"Away We Go" is such a disappointment, especially when compared to the strength of Sam Mendes' last effort, "Revolutionary Road".

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.

I feel that the film makes a great connection between love and the experience of watching a movie. The end of this film is unbelievably right, given the nature of human experience and its relationship to the ideals that we construct in our heads. This movie captures the essence of both love and art together. We are bound to both love and art by a promise that we are pretty sure will be broken from time to time, just like the promises that the two people in the movie make to each other. But as human beings, we so much want the promise to come true that we will make it again and again. Whenever I watch a movie, I renew my own type of promise, one that I know will be broken, or at least will never live up to my own expectations. The characters in this movie go through the process of being broken by love (mostly through a sort of family and place Odyssey) in order to realize that the promises we make to each other can only be broken if we want them to be. We can love each other until we stop believing, and we can bring ourselves to watch a love story that keeps that same promise to the viewer. Sam Mendes has made the only romantic comedy he could ever make as a director: one that respects the viewer as well as the characters.