Directed by:
Alexander PayneCinematography:
Phedon PapamichaelCast:
George Clooney, Shailene Woodley, Amara Miller, Nick Krause, Patricia Hastie, Kaui Hart Hemmings, Beau Bridges, Matt Corboy, Michael Ontkean, Tom McTigue (more)VOD (2)
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From Alexander Payne, the creator of the Oscar-winning SIDEWAYS, set in Hawaii, THE DESCENDANTS is a sometimes humorous, sometimes tragic journey for Matt King (George Clooney) an indifferent husband and father of two girls, who is forced to re-examine his past and embrace his future when his wife suffers a boating accident off of Waikiki. The event leads to a rapprochement with his young daughters while Matt wrestles with a decision to sell the family’s land handed down from Hawaiian royalty and missionaries. (official distributor synopsis)
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When I have a powerful enough story, I don’t need to set it in Hawaii. Apart from this, The Descendants is a pleasant look into the relationship between a father and his daughters and their farewells to their dying mother. A bit of pathos, a bit of sincerity, a bit of humor. Everything is rendered in a subtle and sensitive fashion, but the film is not exceptional in any way, as it offers no surprises or much drama. I elevated my rating to four stars thanks to George Clooney, who’s a perfect fit for his role, and also Matthew Lillard’s character, who’s the best and most vivacious element of the movie. Sideways was more of a revelation and left a more memorable impression.
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I first watched this film years ago, and while it didn't disappoint, it also didn't leave a lasting impression, hence my initial three-star rating. However, after today's rewatch, I found myself adding an extra star. Admittedly, I didn't find anything particularly exceptional in this movie. Yet, as I watched, I couldn't shake the feeling that I was witnessing a slice of real life. Sure, in reality, I don't often encounter people who own a piece of Hawaii, but once I set aside this minor detail, what remained was a tale of ordinary people presented in a way that felt quite believable. Throughout the almost two-hour duration, I found myself engaged. George Clooney as Matt King certainly played his part, but it was Shailene Woodley's portrayal of his daughter, Alexandra, that truly impressed me. / Lesson learned: Hawaii isn't always a paradise.
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The slow, depressing undertones of simple contemplation of important life values, with an excess of unconcealed emotions and interpersonal warmth. Which is indisputably the greatest certainty of Payne’s films. However, he did a respectable job with the given material, which would have tempted many other filmmakers to engage in (even) greater affectedness. The film preserves its sense of detachment in relation to the supporting characters, whereas it is more accommodating toward the leads than they deserve. Of course, I doubt that the members of the Academy will take the same cynical attitude. 70%
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I would have expected a story with this theme to be emotional, but I didn't feel any emotion for the entire duration of the movie. Perhaps the cumbersome and rather clichéd approach contributed to this. I wasn't too impressed by the occasional overacting of some of the actors, perhaps only George Clooney portrayed his character very believably and without unnecessary affectation. Judy Greer irritated me the most with her acting. (50%)
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"Hello, it’s Clooney. You know, death is not an easy thing, especially when you have two healthy children, millions in your account, a house in Hawaii and a woman who cheated on you with a real estate agent because she was bored..." - "I know, George, but don't call me anymore..." Therapeutically toothless and an emotionally instant product that is numb and unable to admit that the true dignity of death in the film looks a little different than this messy warm road movie, which absolutely lacks anything bitter and realistic... I'm sorry to have to write this, but Clooney is a bit of a contemporary Jekyll and Hyde - on the one hand, a shrewd critic of contemporary society, on the other hand, an engineer of human hearts in the service of capitalist realism. Despite a couple of nice scenes (Clooney's dialogue - daughter in the pool or the scene with the wife's friends), I don’t really get The Descendants, just like Up in the Air. I don't think everything is OK in a film where, in the potentially strongest father-daughter dialogue, the father is replaced by a family therapist. Not even with the world that is impressed by this. My battle.
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