By Lee Pfeiffer
Those who frequently complain that today's movie stars don't compare with the legends from Hollywood's golden age, frequently make note of a few exceptions. George Clooney is generally put into the shallow pool of actors who have larger-than-life screen presence. The problem has been that his output of films has been wildly erratic in terms of quality. With writer/director Jason Reitman's
Up in the Air, however, Clooney has finally found a film that suits him perfectly - and he may end up with a Best Actor Oscar in the bargain. Clooney plays Ryan Bingham, an ace representative of a company that specializes in firing hapless employees of large corporations when their bosses can't summon the courage to do so personally. It's a premise that fits perfectly into a modern society in which ogres and cowards generally deliver devastating news to folks via voice mails and text messages. Bingham never dwells much on the emotional devastation he causes. He's not without sympathy, but the dream job he has affords him to engage his primary goal in life: to acquire as many air miles and hotel points in the shortest period of time to set a world record. His life is a shallow one. Despite earning mega-bucks for doing the bidding of his soulless boss (Jason Bateman), Clooney lives in self-imposed exile. He dwells in a dingy, sparsely-furnished apartment, has only transient relationships with other chronic travelers and disdains any form of emotional or romantic commitment. Bingham's perfect, but shallow, universe is suddenly threatened by a new employee, Natalie Keener (Anna Kendrick), who impresses the boss with her cost-cutting methods of removing even the modicum of human dignity that the company's representatives afford employees who are being fired. Natalie devises a video conference system where the soon-to-be-unemployed are given the bad news without any in-person, human contact. The cost-saving measure delights the boss but devastates Bingham, who finds his very existence threatened by the end of his quest to gain airline miles.
Much of the multi-faceted story revolves around Bingham reluctantly training Natalie in the art of firing people. Compared to the 23 year-old over-achiever, he is a virtual crying towel in terms of expressing sympathy for the people being fired. As the story progresses, we get under the skin of both characters, as each finds some life-enriching lessons from the other. Complicating matters is a romance Bingham finds himself in with a fellow frequent traveler, Alex Goran (Vera Formiga), who is erotic and sexually aggressive enough to satisfy any man's fantasy. However, when Bingham becomes increasingly smitten, he is torn between establishing the traditional lifestyle he has long disdained. Most of this sounds smug and predictable, but the screenplay keeps delving into surprising directions that are impossible to discuss without giving away some key plot points. Suffice it to say that Clooney establishes the kind of likable, easy charm that calls to mind Cary Grant, the star he has most been compared to. In many ways, it's the most impressive performance of his career. Clooney is matched by Formiga and Kendrick, who should have long and rewarding careers if there is any justice in the world. Reitman's direction, like the script, is right on the money, providing heartbreak and laughter in relatively equal measure. (The scenes in which long-time and loyal employees are given their notice are cringe-inducing in their realism). Topping matters off, the film also has that rarest of modern movie bonuses: a catchy title song. Don't miss this one- and make sure you take some creep with you who engages in the practice of firing people through remote means...their reaction to this film reaction would be priceless...