Review of The Descendants (2011) by Johnnyhollywood — 26 Jan 2012

Clooney and co. bring the quality.

If actors were pieces of meat, George Clooney would be some sort of pricey premium cut. If actors were drinks, he would be the kind of finely aged scotch you've seen mature so perfectly it almost seems a crime to open it. If actors wer- the point is, the man seems to have developed a talent for picking his spots every Oscar season, often appearing in highly emotional, purpose-driven fare personally customised to earn him at least a nomination for Best Actor. This year is no different, as Clooney appears in not one, but two critically appraised films, and it is his efforts, along with an excellent supporting cast and magnetic script, that put The Descendants in prime position to take out the year's top prize. The title refers to Matt King (Clooney) and his daughters Alex (Shailene Woodley) and Scottie (Amara Miller). The extended King family are the descendants of affluent Hawaiians, and so continue to own their ancestor's many miles of untouched, pristine land. With Matt being promoted to primary stakeholder, he now holds the majority vote in the decision to sell this land. Important, yes, but this pales in comparison to the other big deal in Matt's life: a pair of unruly daughters, a wife whom he discovers has been cheating on him, and a boating accident that has placed said wife in an indefinite coma.

With each passing year, it becomes more difficult to distinguish between good, honest films released over the holiday period, and those simply pining for an award or two. Certainly, this film has many typical elements of an Oscar-baiter: an intimate setting, an emphasis on interpersonal relationships and a protagonist at a crossroads in life. Very little of the synopsis is truly original, but the film draws its appeal from just how the story is told. On top of delivering a powerhouse performance, Clooney is present in virtually every scene which, coupled with the sporadic use of voiceover narration, gives the audience an intricate insight into the mentally-crippling decisions one man is forced to make in an attempt to keep his family together.

The film starts off simply enough, but becomes more emotionally complex with each scene. The audience is introduced to Matt, we learn of his wife, we learn of the wife's indiscretions, whom she had an affair with and why this man is of more significance to the story than first thought. For almost two hours, The Descendants progressively builds to a climax that is altogether well rounded, conclusive and memorable, like some sort of grand operatic piece. Or Stairway to Heaven, whatever. Of course, this couldn't be a Best Picture nominee without some underlying themes to accompany the plot. The film deals a lot with life decisions. That is, which one is the right one, and how the most obvious or most favoured option may not always be best. But, in some sort of strange, complimentary fashion, the most surprising aspect of this movie is how plain funny it is. To be clear, The Descendants has no intention of being classified as a comedy, but its unique infusion of 'grown-up' storytelling and often very politically incorrect humour adds depth in the pure entertainment department, particularly for those who may be deterred into thinking this film is just another sob story.

If an ambition to be bold is the film's main event, then its efforts to avoid predictability as the plot thickens is its equally strong undercard. As Matt and family take a trip out to the islands so he can show his kids exactly how much of the land is theirs, one daughter recalls how she used to camp out on one particular stretch of beach with her mother when she was younger. This sounds like a certain case of foreshadowing, but Matt knows that, given the events unfolding around them, one camping trip will not solve much. This is but one example of the maturity and monk-like dedication to persistently engaging the audience, making The Descendants a must-see anytime before Oscar night.

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