Film

Away We Go: Home Sweet Wherever

A finely pedigreed comic road film that, when all is said and done, is too finely-tooled for the NPR set to have much life left in it.


Away We Go

Director: Sam Mendes
Cast: John Krasinski, Maya Rudolph, Catherine O'Hara, Jeff Daniels, Carmen Ejogo, Allison Janney, Jim Gaffigan, Maggie Gyllenhaal, Josh Hamilton, Chris Messina, Melanie Lynskey, Paul Schneider
MPAA Rating: R
Studio: Focus Features
Year: 2009
UK Release Date: 2009-09-18
US Release Date: 2009-06-05 (Limited)
Website
Trailer

A wonderfully well-intentioned flock of stock American-indie scenarios wrapped up in a cosy, folky soundtrack and lavished with charming comic interludes, Away We Go never strives to be much of anything and succeeds quite well in its aims. Not that that is necessarily a bad thing, as all works of art should always know their limitations, but it seems like somebody might have tried a little harder. Maybe it's asking too much, but for the screenwriting debut of two literary wunderkinds (married duo Dave Eggers and Vendela Vida) that just happens to be shot by a director (Sam Mendes) whose last film was one of the great literary adaptations in recent memory (Revolutionary Road), one expects at least a couple attempts to swing for the fences.

It's possible that the film's lackadaisical attitude came about quite organically after coming up with such a sparklingly perfect and well-tuned cast. As Burt and Verona, the low-key early-30s couple who set off to find a new place to live after Verona becomes pregnant and they discover Burt's parents are moving abroad, John Krasinski and Maya Rudolph fit together like peanut butter and jelly. Their muted, lo-fi way of living is more than just some hipster statement like the soulful voices always murmuring on the overused soundtrack; their easy-come easy-go attitude and lightly jabbing verbal interplay feeling as lived-in as their junked-up and falling-down house in the sticks.

As Burt and six-months-pregnant Verona make their way around the country in search of a new home, they're thrown into prepackaged comic encounters whose excellent players almost overcome the caricatured nature of the writing. A fiery Allison Janney and gloomily apocalyptic Jim Gaffigan present a sun-dazed picture of suburban psychodrama, while Maggie Gyllenhaal and Josh Hamilton perform a breathtakingly obnoxious satirical take on foggy-brained college-town intelligentsia smugness. Both segments -- in addition to a too-brief appearance by Catherine O'Hara and Jeff Daniels as Burt's alarmingly selfish parents -- appear as self-contained little playlets whose sudden rush of freakish energy leave the rest of the film unbalanced.

Mendes, whose instincts have remained more theatrical than cinematic, throws so much effort into these sequences that the thinness of what holds the rest of the film together becomes readily apparent. When Eggers and Vida's screenplay calls for Burt and Verona to meet up with comparatively normal people -- a couple of college friends in Montreal, or Verona's lovelorn sister -- the resulting scenes play like something from another film. The screenplay's sketchy, post-slacker, underdeveloped adult melodrama never finds a workable mix with its interruptions of Meet the Parents-like manias. And Mendes' decision to just string it all together with chapter titles ("Away to Montreal," etc.) and an amped-up soundtrack meant to carry too much weight makes the whole affair come off like a pack of dashed-off index-card scenes flung into some order and forced to stand on their own. As a filmmaker, the British Mendes seems more at home in stylized settings like the glossy living dead suburbs of American Beauty and Revolutionary Road than the fly-by-night road-trip Americana he wrestles with unsuccessfully here.

Like its leads, Away We Go doesn't want to make too much of a fuss about any of its components, a decision that leaves many of its more meaningful (and sometimes quite lovely) ruminations on love and finding one's place in the world stranded without context. What's left is a finely pedigreed comic road film that, when all is said and done, is too finely-tooled for the NPR set to have much life left in it.

5

So far J. J. Abrams and Rian Johnson resemble children at play, remaking the films they fell in love with. As an audience, however, we desire a fuller experience.

As recently as the lackluster episodes I-III of the Star Wars saga, the embossed gold logo followed by scrolling prologue text was cause for excitement. In the approach to the release of any of the then new prequel installments, the Twentieth Century Fox fanfare, followed by the Lucas Film logo, teased one's impulsive excitement at a glimpse into the next installment's narrative. Then sat in the movie theatre on the anticipated day of release, the sight and sound of the Twentieth Century Fox fanfare signalled the end of fevered anticipation. Whatever happened to those times? For some of us, is it a product of youth in which age now denies us the ability to lose ourselves within such adolescent pleasure? There's no answer to this question -- only the realisation that this sensation is missing and it has been since the summer of 2005. Star Wars is now a movie to tick off your to-watch list, no longer a spark in the dreary reality of the everyday. The magic has disappeared… Star Wars is spiritually dead.

Keep reading... Show less
6

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image