At some point in the cinematic doldrums of late summer last year, stuck between a trailer for Jennifer’s Body and Gamer, I came across a preview for Up in the Air. Like a breath of fresh air, I found myself repeatedly returning to this trailer over the proceeding months believing that finally, “here is a film for someone like me.” Dramatic, but not overly so, with a touch of humor, and well-written dialogue that is smartly delivered; and, with fingers crossed, a deliciously satisfying happy ending (after all, the film’s director is Jason Reitman . . . aka Mr. Juno). Imagine my enthusiasm when I heard that Paramount moved up the distribution date for the film by two days . . . talk about a Merry Christmas!
After months of anticipation, I saw Up in the Air on Christmas Eve; and alas, there was very little merry about it. First off, no happy ending (no real ending at all, now that I reflect on it). Second, literally (and I’m not exaggerating here) every humorous line in the film made it into the trailer. Sure, I found some smart dialogue, but I could have saved my money and watched the trailer ad infinitum to the same effect. Yes, George Clooney was as winsome as ever and the supporting cast (namely Anna Kendrick and J.K. Simmons) gave compelling performances, but the film is a flat line. Clooney’s character, Ryan Bingham, may live his life up in the air (both literally and metaphorically), but his story arc fails to get off the ground. Don’t get me wrong, Bingham is pleasant enough and has a decent heart, but by story’s end we recognize that real life change has not occurred.
Of course, you may argue that the film’s ending leaves matters open to interpretation and I have obviously selected a more negative viewpoint of what Bingham will do next. Fair enough, but remember I went looking for a happy ending and the fact that someone with my propensity couldn’t see it makes me all the more suspicious of anyone else who does. Bingham may have allowed a small rekindling of hope with Alex (Vera Farmiga), but when she closes the door to return to her married life, we are shown little else to stay the belief that so too the entry to Bingham’s heart closed. I appreciate Reitman’s attempt to empower the viewer to “choose your own adventure” and to take the next step in life, but Bingham’s flat storyline does not have enough substance to bear-up such an elevated undertaking.
My fellow film critics want to make this a film about “moving on” in an age of recession-era joblessness. I appreciate their attempts to add some depth to a film filled with far more ideological departures than arrivals. Certainly, Up in the Air is filled with more than hot air, but it fails to hit the heights claimed by some. In Good Company covers similar ground as this film, but does so with far more humor and grace. I recommend grounding Up in the Air and picking up In Good Company instead.
I found myself deeply disturbed by 
I have no right reviewing a vampire film. And, no, I don’t think seeing 
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Before you call me heartless for not loving this seemingly poignant film about a man who in discovering social injustice finds himself, bear in mind that my gripe is not with the subject of the film, but the manner in which it is told. I actually found the last 30-minutes of the movie quite moving, and I think this had much to do with the fact that the main characters finally stopped moving. They planted themselves in one place and we finally had the opportunity to see a bit more of the human face of inequality and prejudice that may have greatly impacted them, but rushed by us in the first three-fourths of the film.
Slumdog Millionaire
As the screen went black at the end of this deeply touching film, I had to remind myself to breath. 
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I’ll admit that I wanted to hate this film. After all, it embodies what I generally loathe about summer tentpole movies — all story-boarding and no heart. Well, that and it’s directed by 
