Don't be fooled by the Juno-style doodlings in the ad for this movie (they seem to be de rigeur in indie films at the moment, as they were also present in 500 Days of Summer). Or by Alexi Murdoch's meandering acoustic soundtrack. For all it's shuffling indie appearance, this movie has some heavy hitters behind it, written as it is by husband and wife Dave Eggers and Vendela Vida, and directed by Sam Mendes (American Beauty, Road to Perdition, etc).
I should warn you now that it's impossible to write this review without referencing Mendes' other more stagey films. Away We Go is definitely Mendes doing indie-by-numbers, yet you can tell he still can't resist giving into his naturally stylised direction. His eye for a slick shot is unmistakeable in the movie's 'road trip' sections and an airport scene has echoes of the memorable railstation scene in Revolutionary Road. But whilst Mendes just can't help but frame images beautifully, this movie is clearly a deliberate attempt to create something much less theatrical than anything he's done before. It opens with it's central couple Burt and Verona having oral sex in a messy bedroom which could be plucked from a Kevin Smith set for goodness' sake. Throughout, Mendes abides by the silent laws of indie movie-making, from the silent chapter headings to the not-quite grown up grown ups who are his central characters.
The movie's story is notable for eschewing the epic tragedy we're used to seeing from Mendes and is full of laughter and the occasional soppy moment. Burt and Verona (John Krasinski of the US version of The Office and Maya Rudolph of American staple Saturday Night Live - who, for bonus points, is also Minnie Riperton's daughter) are a very happy couple who are expecting their first baby and who are travelling across the US and Canada to find the perfect place to raise their child. Their only gripe with each other turns on the subject of marriage - he wants to, she doesn't see the point - but it appears this isn't a burning issue. Otherwise they're very content - hardly Frank and April Wheeler - but, thanks to the leads' naturalistic and comfy rapport, their perfect relationship doesn't irritate us. This in spite of the fact that as they meet various friends' families on their travels, whose attitudes and circumstances inform their decisions and highlight various (usually rather wonky) parenting styles, they could easily seem ... well ... pretty smug. It's fair to say that Krasinski and Rudolph are delightful; I didn't know Rudolph at all before this and suspect that many UK viewers will be in the same boat, but she' s really very likeable and she and her co-star are totally believeable as a couple. There are scene stealing appearances from Maggie Gyllenhall (Secretary) who was born to play a floaty, glaze-eyed hippy mum who hates strollers (that's prams, UK folk) because she doesn't see why anyone would want to 'push their baby away from them', and the always engaging Allison Janney (Juno) as a mum whose parenting is built around caustic put downs and an obsession with her boobs; cameos from Catherine O'Hara (Best in Show) and Jeff Daniels (Pleasantville) as Burt's parents are woefully shortlived however.
There's not much to say in terms of my reaction to this movie. I certainly don't think you could hate it. It's very sweet and provokes gentle chuckles and tears. It's meandering plot resolves itself rather predictably but I was glad we didn't end with the cliched climactic childbirth scene. It winds up as quietly as it begins, but somehow manages to evoke more emotion than Mendes' last project. The actors aren't desperately trying to impress their feelings upon us for the sake of acclaim and actually seem like people you might know. Ms Winslet, I think you can try too hard ... The movie's themes of growing up, families and responsibility as viewed by thirty-somethings will appeal directly to a particular demographic and I think the relaxed and understated direction is well suited to the story. It's just a shame it all felt a little too familiar. Charming, affecting, but for all its lo-fi leanings, ever so slightly obvious.
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