THE DESCENDANTS (Alexander Payne, Fox Searchlight, 2011)

It's the most wonderful time of the year, no not Christmas but Oscar season. A great list of films awaits me and one of the ones I was most eagerly anticipating was THE DESCENDANTS (Alexander Payne, Fox Searchlight, 2011). It has an acclaimed director as well as one of my favorite actors and being from Fox Searchlight you know the story has to be good right? Yet I came away from the film not feeling this picture was worthy of a Best Picture nod, something it is being pushed towards.

My biggest problem with the film lies in the narrative for the film. The story is fresh and poignant, and it definitely tugs the heartstrings. But that starts my issues with it. I feel the narrative is overburdened and heavy handed. It throws a few too many things into it's mix and this gives the film a cumbersome effect which kills the pace and flow. There is too much going on within this narrative. You have Matt King (George Clooney) dealing with his wife's injury and impending death, his discovering her affair, his pursuit of his wife's lover, the transaction of selling the family trust and the attendant pressures from that sale and finally two daughters which he is alternatively incapable or ineffectual at dealing with. As a result of all this, the film has an inherent sadness which feels forced. The film also feels extremely manipulative. The film travels from sad event to sad event to sad event. It's too much.

With that said, there is some really good work in this film. The cinematographer Phedon Papamichael is one of the best working at his craft today. The film is beautiful, easily aided by shooting in Hawaii of course. But Papamichael finds beauty in the simplest of shots and also creates some shots that just amaze. As Elizabeth's parents visit her for the final time in the hospital they are spied on by Matt. Papamichael's work here is sublime, as he captures Robert Forster simply and with touch and feel. One of the moments in the film that worked most effectively. And Alex Payne also puts in his usual standard of great and amazing work.

Great and amazing describe fully the star of the film, George Clooney. And make no mistake, this film is entirely driven by Clooney. A subtlety exists to Clooney, this innate ability to convey such range of emotion simply by just being himself. As Papamichael let's the camera linger on his face for long stretches, so much is said without any dialogue. And George is so damn good looking yet still remains a man that the average guy can identify with, one to emulate and admire simultaneously.

I liked this film, just didn't feel it was as strong as I expected. I will say there weren't many dry eyes in the theatre, so make sure to take the tissues.