A fascinating character study and so much more; the best film of 2009

Rating: 9/10 (12 January 2010)

A major part of what makes this film so successful and effective is its simplicity – and watching it, one is surprised at just how incredible simple it really is. Unlike many of his contemporaries, Reitman does not employ fancy cinematography, visual flair, eccentric music, gimmicky storytelling, or any particularly noteworthy or conspicuous elements to tell his story. It is a very simple and straightforward film – what makes it remarkable is the extraordinary depth and richness that simplicity conceals. First and foremost, the film serves as a resonant and fascinating character study. In the vein of the greatest character studies, Reitman portrays and explores every nook and cranny of the man that is Ryan Bingham: and he is quite a fascinating character indeed. We are introduced to him as a man who lives what can be described as a life of complete freedom: he calls no place home except the skies; he finds such purely joyous pleasure in the details of hotel rooms, car rental services, airport security procedures, efficient packing and travel, membership cards and loyal customer clubs and frequent flier miles. We glimpse his closet at one point and see that he has at most three or four shirts. His apartment, which he spends less than a few days at a time in, is completely bare. Most importantly though, Ryan has no major human connection in his life: not with a romantic partner, not with his co-workers, and not even with his own family. But while most of us would look at such a life as quite miserable, Ryan couldn't be happier or more content with his choice.
But Ryan is thrown off balance when technological advances threaten to ground him for life, and when he meets two women who enter his life: the first is a young, fresh-out-of-college employee who is partnered with him on the road so that he can "show her the ropes"; the second is a free-wheeling woman whom he meets on the road and sees as his counterpart: free from responsibility, reveling in her success and her "exclusivity" in the form of various membership cards which the two excitedly compare. Most importantly, though, she seems interested in only the most fleeting and casual of human connections, but as their relationship develops, Ryan seems more and more interested in something serious and seems to think that their relationship is headed in that direction. If Reitman treats Ryan's character and the events in his life with utmost maturity and profundity, he manages to find an even more reflective and meaningful resolution: he avoids simple and one-dimensional solutions and provides us with one that is far more thought-provoking and multi-faceted, in which some aspects of Ryan's life and his relationship with his friends and family change, while others end up being too late to change. It is a fascinating, resonant and really significant study of the human condition, what is important in our lives, what abstract terms such as relationships, family, love, freedom, and all these other ideas mean to us as individuals, and so much more.
With Up in the Air, Reitman proves that a truly great movie can be made with nothing more than great performances and good writing. Reitman does not employ visual gimmicks, untraditional storytelling techniques, or any other such prominent elements that make some of the best movies ever made as good as they are. Watching Up in the Air, I didn't get the feeling that I was watching something really groundbreaking like I did when watching There Will Be Blood two years ago, which shook me to the core. Up in the Air didn't feel like something revolutionary or important as I was watching it; the cinematography is good but not particularly showy, as is the editing. The design and look of the movie are all pretty standard, rooted in reality and not flashy. The musical score is effective as are the song choices; but again, the soundtrack doesn't particularly stand out – which is why the fact that this movie is so resonant and deep and meaningful is all the more impressive. Three elements in the film do particularly stand out, though. The first is the performances which, like I mentioned, are career highs for all involved, and just totally full-fledged and fascinating and incredible pieces of work. The second is the screenplay that, while fairly straightforward, conceals so much multi-layered depth and significance and is written so well, the dialogue simply jumping off the screen with such vitality and exuberance. It is a film that works on so many levels; it is at once hilarious and genuinely funny and intelligent while at the same time genuinely and poignantly emotional and dramatic. It is at once a multi-faceted character study and an important testament to the current economic climate of our world. It is enjoyable, charming, funny, touching, thought-provoking, poignant, moving and all in all just one of the most full-fledged and genuine cinematic experiences of the year. The third is what brings it all together, what takes a fairly simple premise that could be so easily underplayed by any other director but that brings out everything that makes the movie as good as it is, and that is the director, Jason Reitman. Building up a strong reputation with his past two films, in his third effort, Reitman brings everything together, and directs the film with such focus and maturity and confidence, completely devoid of irony or preciousness and serves to create what is, in my opinion, the best film of the year.