Review of Sideways (2009) by Kylie P — 27 Jun 2010

Sideways most benefits from its wonderful script, which delicately and pleasantly uses the similes and metaphors arising out of the pleasures of wine when equated to life, love, sex, and self-identity. The most poignant example of this lies in a quiet scene between Miles and Maya, when Maya is describing how sipping a good pinot noir can lead her on a stream of consciousness thought process devoted to life and nature beginning with how the grapes for the wine grow. Her meditation on these subjects entrances Miles because the concepts being offered are spoken with such descriptive simplicity, it's hard not to be entranced by them. Still, the story is one of full-circle clarity and thoughtfulness, and the dialog is wonderfully intelligent and emotionally resonant, owing in no small way to the insightful, even poetic script based on a novel by Rex Pickett.

Also, the performances in this film are very good and give the film heart when the script is its backbone, its soul. The lead four actors are the reason to watch; Giamatti's touching, heartbreaking, and occasionally humorous performance of a man at a turning point in his life yearning for nothing more than the cloudy haze of intoxication by wine matches well with Madsen's warm, intelligent, and easygoing Maya. Haden Church is the film's source of comedy, playing, ironically, the eternal man-child who is really more grown up than he thinks (and may be more grown up and self-aware than Miles). His devil-may-care quest to have one last torrid affair with Stephanie, as well as his "No thanks, Dad," attitude toward Miles, inspires the most chuckles. As it turns out, Oh gets in a few one-liners and a great right hook with a motorcycle helmet but is otherwise window-dressing for much of this film.

The score and song-track were wonderfully understated and matched the road-trip essence of this film wonderfully as well. Much of the charm of this film is owing to Payne, who not only co-penned the screenplay but also directed the film. What can be said for Payne is that he has a wicked sense of humor and an eye for some details that make his particular oeuvre quirky and unique, and some of those trademarks exist in Sideways. There is many a scene including sardonic quips and darkly ironic humor that could inspire the giggles, if darker humor tickles the funny bone.

Still, much was said, at least at the time, of how great the film was, and while many of the ingredients lend to a delicate aroma and poetic aftertaste not seen in what is essentially a buddy-picture in many a time before or since, Sideways is still, really, an over-glorified buddy picture. Also, the film is going to be most relevant to men in the approximate age group of Miles and Jack; there is a definite target audience here, since the perspectives of the female characters are under-explored. While these factors are not immediate flaws, they do result in a film that's going to be meaningful to the viewer, or isn't, and a small, independent picture like this one truly relies on that sort of connection for its success.

Also, there are moments when the film drags, particularly when the focus shifts to Miles and his maudlin self-exploration vis-a-vis his more lively friend. These moments did not bother or annoy, but it is a slower-paced, meditative picture even as it is supposed to be a comedy. In fact, the pacing closely parallels About Schmidt, thought not in the same manner.