Irritatingly smooth "americana"

Rating: 2/10 (31 August 2010)

I don't neglect the virtues of this universally acclaimed Oscar nominee. I cannot. No, sir. It has perfect editing, superior narrative fluidity, well written dialogue, a leading man so charming that can sell you a concentration camp as a lifetime vacation in the Caribbean These seem to be enough to get you an Oscar nod these days. This excruciating film by most recent keeper of the American faith, Mr. Jason Reitman, of the Juno reputation (another freak example of Midwestern voice with a coastal accent), chooses its hero to be a man who enjoys firing people of their jobs and coveting air-travelling mileage. The second gets reasonably resolved; the first seems to be perfectly OK with the filmmakers. People are disconnected in our fragmented times, they are in a continuous transitory state, metaphorically "on air" each and every moment. We don't criticize; that's just how things are – who wants to be accused of didacticism anyway?
Furthermore, an unbearable filmic transition from the purity of physical attraction to the life-altering joys of domesticity takes on gradually. Don't get me wrong, I'm not against companionship, family love, whatever. It just is not the case for everyone. Let me phrase it otherwise: I enjoy Nora Ephron films; this one can be Ephron-cute. I adore James L. Brooks films; this one has Brooks'-dialogue sparkles and character intonation. I deeply admire Alexander Payne; Up in the Air would have a distinctly different "up in" conclusion in his vocabulary.