Bhreatnaigh mé seo faoi deireanach. Cheap me go raibh sé ach réasúnta mór. Mar sin, ní raibh is fearr nó is measa aice. Ghlac an phríomhpháirt i ndráma Seoirse Ó Clunaigh le Riain Bingham. Bíonn Riain ag obair ar dtus leis deireadh a chur le obair le duine eile. Scanrú siad roimh ag teacht Riain.
Thaistil Riain fad Meiriceá ag déanamh seo ar feadh ár Cúlú Mór. Ar ndóigh, bíonn sé is gnóthach anois. Fuair Riain leis bia agus eitilt den chéad scoth gach áit.
Tagann fostaí nua ag freagairt Riain, ag déanta i bpáirt le Áine Níc Eanraic. Casfaidh Riain dó a mbeidh inchurtha leis í a bhí ina leannan dána le Vera Farmiga. Tógfaidh dha bean airsean.
Aontáim go raibh an-chosúlacht mhaith an ar giniuint air. Mar sin féin, ní maith liom ag seinm ina scóir nó an coiscéim scéil ann. Bhí a léiriú ina scannáin air ró-lag i bhfad fós-- d'ainneoin aisteireacht go láidir.
Smaoinigh mé go raibh ró-phlur an claonadh ginearálta go Coill Chuilleain aríst anseo. D'fhág mé ag síl a tughta ó Jason Reitman i nglór uasal le híseal anseo. Is comh-scríbhneoir agus stiúrthóir é. Is cosúil Reitman é leis Riain é, go cinnte.
Eiltail Reitman go Chicago go dtí an gCathair na hÁingeal céann am. D'fhág sé ag fáil míle a báiliú ag feabhsú is airde air leis Aerlíne Aontaithe. D'imigh sé ag ceannaithe ach pizza-- dha míle míle amach.
"Up in the Air": a film.
I watched this recently. I thought it was only reasonable ["so-so"]. That is, it was neither the best nor the worst.
The drama stars in the leading role George Clooney as Ryan Bingham. Ryan's working at the start by putting an end to the work of other people. They take fright at the coming of Ryan.
Ryan travels around America doing this during our Great Recession. Naturally, he's busy now. Ryan gets the pick of the best quality in food and flight in every place.
A new employee comes to take on Ryan, in the part of Anna Kendrick. Ryan will meet his match in the part played by Vera Farmiga as a bold lover. The two women will change him.
I agree that there was a promising set-up in the conception of it. All the same, neither the playing of music in the score nor the pace of the story pleased me. There was by far too weak a putting of it on screen also--despite strong acting.
I feel that there was too-elite a general tone from Hollywood again. I went away thinking that Jason Reitman brought a condescending tone here. He's the co-writer and director. Reitman's similar to Ryan, for sure.
Reitman flew from Chicago to Los Angeles one time. He left to get more miles earned for a very high upgrade of his with United Airlines. He took off only to buy a pizza-- two thousand miles away.
2 comments:
Sounds like it parallels Reitman's theme in Thank You For Smoking: the moral ambiguity of doing a good job at a Bad job. But Reitman's own ambiguity on presenting the morality frustrated me. Is he a closet Objectivist, I wonder?
Characteristically, the entertainment industry is doing its best to mirror the national mood while avoiding sentiments angry or bleak enough to make audiences stop buying flat-screen TVs and movie tickets and go march in the streets. Even or perhaps especially when it's evident that a movie, novel or TV show's sympathies lie with the economically destitute -- hello, HBO's “Hung” -- it seems there's an unspoken consensus that the bitter pill of unpleasant realities must be sweetened with a modicum of one-liners.
In writer-director Jason Reitman's "Up in the Air," for example, the charming, debonair corporate hit man played by George Clooney engages in banter that could've been lifted straight out of a 1930s screwball comedy while flying around the country laying off people. Just swap Clooney and his costar Anna Kendrick for Clark Gable and Claudette Colbert, and you've got a designer-label update of the Frank Capra classic comedy “It Happened One Night,” which came out at the height of the Great Depression. But there's one crucial difference: Capra's films never strayed from their populist fan base, whereas "Up in the Air" necessarily maintains a sense of detachment from the human suffering on the ground.
In adapting and updating Walter Kirn's 2001 novel, Reitman slips in a touch of social conscience in the form of a moving montage of interviews with real nonactors who've recently lost their jobs. But the movie, like Clooney's nattily attired Ryan Bingham, seldom wades beyond knee-deep into the messy travails of working people. In one interview sequence with a laid-off office worker, who earlier gave up his life's dream of being a chef, the movie even dares to suggest that unemployment can be a disguised blessing, an opportunity for spiritual growth.
Maybe. But try telling that to the man or woman who just got canned, with no health coverage, a mortgage and kids to put through college. "Up in the Air" is a feel-good, feel-bad flick that takes a passing swipe at heartless corporatism but satirizes rather than seriously questions let alone challenges the status quo. (Above excerpted from Reed Johnson, "Mining Hard Times for Humor is the American Way." L.A. Times. 2/14/10.)
Tamerlane, I agree: there's a cruel, detached tone to Reitman, child of Malibu privilege and Hollywood scion, that soured this film. AA very unevenly paced movie in its direction, and not a strong screenplay. Result: a "let them eat cake" dismissal of real pain acted by these real people, now extras in a film profiting off of their desperation.
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