Away We Go

Away You Go should not be as likable as it is. The dialogue is overly-written, desperately punchy. The indie soundtrack is too convenient: Golden Brown, the ditty you remember from the slow-mo finale of Brad Pitt's brutal fist-drawn ballet in Snatch is recycled during a painful dinner conversation. The direction, while colorful and efficient, lacks the panache of say, Road to Perdition or American Beauty, each neurotic couple emerging laboriously for examination, each sensual or disarming flaw exposed in soft close-up. Worse yet, Big Old Screen Clogging White Titles jump in now and then to chop things up. Generally, the whole film is droll and at times infuriatingly languid. At yet, Away We Go's whist manages to elevate everything. The 21st century American dream--perfected parenthood--is exquisitely satirized. Once things get going, you realize that every frame manages poignancy in some manner as the ever-stalwart couple (a fat and frolicsome Maya Rudolph and plucky, indefatigable John Krazinski) travel onward toward another intriguing relationship example. Sam Mendes' attitude toward the material seemingly improves at the midpoint. Or perhaps it is simply that road enlivens all. The secondary characters reveal themselves as shockingly insightful, thanks to a beautiful script by Dave Eggers and Vendela Vida. Reliably glum albino Jim Gaffigan makes a hilariously apocalyptic and timely rant about Phoenix--and the rest of the world's--water evaporating. Elsewhere, Maggie Gyllanhal is disturbingly plausible as a deranged New Wave mother, first seen breast-feeding a baby and a mortified redhead boy simultaneously. Chris Massina delivers an unsettling anecdote concerning the reason for his adoptions as his wife slowly oscillates on a pole in a strip club. Through the film, the dynamic duo at the center react with a convincing amount of cynicism, awe, and, during their time with Gyllanhal--undeniable disgust. Still, sometimes things get so awkward we aren't sure these characters actually knew one another before filming began. There is so much distance, obscurity and oddness at work that we are detached. It doesn't help that all is shot in subdued tones. And yet, the film is recommendable for its wise dialogue and pitch-perfect performances.

Away We Go will be hated by people who enjoy terrible movies. A true work of art, Away We Go hits all aspects of a fantastic film. Comedy, drama, writing, acting, soundtrack, cinematography, like a Cinnabon in movie form. A BLT/Milkshake lovechild on film. Beautiful story, phenomenal writing, brilliant direction, the combination of wonderfuls. I can't think of metaphors worthy of how epic this cinematic adventure.But this page is not only about the movie, but the disc and format it is presented in. As long as you don't get a cracked version, the DVD will present the movie in a way that does it justice. My suggestion would be to insert the disc in a clean and functioning player of DVDs, not a Beta Tape or VHS player, as these will not showcase the glory of the film contained on the digital disc. Don't break it like my mom did. It is not a CD, keep in mind and it should not be used as a frisbee. My mom understood "Away We Go" as documentary on the toilet factories in Bangladesh and subsequently broke the disc (thinking it was manufactured to spy on American citizens to get the scoop on bathroom usage and competitions) and flushed it down the loo. Not cool. Not a good reaction. I assure you this film is for entertainment purposes and the DVD it comes on is best avenue for your viewing pleasure.This film is a masterpiece. If it had a better marketing plan, no doubt the screenplay, directing and movie would have had some Academy Award nods.

In a lot of romantic comedies of this type, the writer/director feels compelled to add an artificial element of tension - some misunderstood comment or perceived infidelity that causes the couple to fight, go their separate ways, then realize their follies and make up. The beauty of this film is that there is nothing like that. In the end, it's clear the movie makers know having a child and trying to find a home are tensions enough. This is just a nicely paced, sweet movie that makes you feel happy and hopeful about life. The main characters don't really fight or get angry - in fact, they consistently stick up for each other in the way everyone hopes their own spouses will. I've read some reviews that say things like "this is only for people who like Jim from 'The Office.'" Maybe so, I like Jim's character and so does my wife, so I guess we're biased. It's also nice to see Alison Janney, who is manic and hilarious in this film. Maya Rudolph also doesn't get enough credit, as her story about her father is lovingly told and her last line is great. I highly recommend this film.PS. Best last lines in my opinion:1.  Heist : 'Cute as a Chinese baby.'2.  Dodgeball: A True Underdog Story : 'F-ing Chuck Norris.'

This was a different kind of road trip film. This movie thrives not on the main characters, but its fantastic supporting cast. As lead characters and expectant parents Burt and Verona travel across the country, trying to find a place to raise their family, their travels bring them face to face with their friends and family, and force them to contemplate their future as parents. It forces them to view life as adults, possibly for the first time.I've been waiting a few months for this one. As it began, I thought that I wouldn't enjoy the film, but it really wins you over as it progresses. The glue to the movie is Alexi Murdoch's wonderful soundtrack. The songs are inserted in timely fashion throughout, and where they are inserted, they punctuate every scene. Sam Mendes (who I am a fan of) makes great use of every note from every song in this film.There are elements of this movie that are probably best appreciated by parents, but it's one all adults could enjoy. It's not a must-see, but it's definitely worth seeing.

Wonderful, feel good movie!!! with the BEST soundtrack!!!!

Soo cutsie

Nice romance with a bit of irony!

Worth a watch

Love this movie.