Soon to be an Oscar nominee once again, George Clooney (The Fantastic Mr. Fox) turns in a bravura performance — nearly as good as he was in 2005’s Syriana (for which he won an Oscar) and 2007’s sensational Michael Clayton (for which he was nominated) — in writer/director Jason Reitman’s perfectly timely, sharp as a razor dramatic comedy Up in the Air. An obvious star vehicle for Clooney — and American Airlines (will explain in a minute) — he plays one Ryan Bingham, a traveling professional job eraser hired out to American companies to “right-size” their work forces with a fearless, direct, face-to-face approach… and a smile. But as elegantly efficient as he is at what appears to be the absolute worst of the worst in terms of chosen career paths (via many sit-downs with distraught, desperate people who never saw the pinkslip coming), the “job” was buried long ago by “loftier” personal goals; that is, blanketing himself with “elite” travel status cards (planes, hotels, rental cars, etc.) and closing in on the pearl of his frequently-flying business brethren — the 10-millionth air mile award presented by Pilot Numero Uno, Maynard Finch (say that name in your best Mr. Thurston Howell III voice).
 
And this, of course, says volumes about the current state of our economy where a person traveling constantly (something like 95% of his work schedule) throughout the U.S. firing multiple people every single day can rack up that seemingly insurmountable total; the fear and the sadness behind that is as palpable as all get-out. (The fact that such a profession even exists is more disheartening, if you think about it.) Yet… you really, REALLY like this guy, in spite of the ego-driven, solo, shallow existence Bingham calls “home”. In fact, he takes it steps further, occasionally doing speaking engagements where he gives tips to weary road warriors using a backpack filled with “necessities” as a stilted analogy for the meaning of life. The arrogance drips out of every orifice, and yet… you just can’t hate him (NOTE: Part of that may be the excellent writing behind the Bingham character, but MOST of that is the sheer presence of Clooney).
 
But, lo and behold, things are about to CHANGE for Bingham, by way of not one but two women (!). First up, recent grad student Natalie Keener (Anna Kendrick, New Moon) is brought on to Ryan’s company by his boss Craig (Jason Bateman, Extract) to re-think the way their firm does business (uh-oh!). Question is: Why is it necessary to send people all over the country to do the job when it can be done with a simple set-up of the Internet and webcams? Well, you can guarantee that Bingham will not allow his prissy counterpart to muck up his plans for travel domination and he’s going to show her EXACTLY why his job is done the way it’s done. Natalie, however, isn’t simply going to allow Ryan to dictate his rule; she’s no where near impressed with anything he’s about and takes on the challenge to educate him in the ways of the new world whether he wants to accept it or not. And, surprisingly, Kendrick — who’s had only a handful of roles (and not exactly “tested” by parts in Twilight and New Moon… sorry, but I HATED both of those) — shows she possesses every bit the strength and depth of her co-star, going toe to toe with Clooney in the acting ring. And with the addition of Clooney’s Hollywood clout, I predict a Best Supporting Actress nod for Kendrick — she certainly is worthy of one (and could outright win it).
 
Just before Natalie’s introduction is Ryan’s chance meeting with sexy fellow tripper Alex Goran (Vera Farmiga, Orphan), who is as comfortable on the road as Bingham (and happens to have the very best line of the entire film as she compares herself to her male counterpart). Once they… well… you know, the two schedule the periodic rendezvous every chance they get; it’s a burgeoning relationship that catches the solitary Ryan completely off guard. The terrific Farmiga will most likely score a Supporting Actress nomination for this brazen, matter-of-fact performance as well.
 
Please forgive the blatant set of air travel metaphors, but at this point — Ryan, Natalie, and Alex meeting together for the first time and crashing at a corporate party headlined by none other than Young MC himself (singing his 90s hit “Bust a Move” no less) — is where a film that’s already got me fully buckled in and engaged just absolutely takes off and soars! And as with most flights, you can practically predict the ensuing turbulence. But even the toughest parts — as was the case with Reitman’s Thank You For Smoking — aren’t difficult to digest with writing of this caliber. Up in the Air is simply the best-scripted film this year (thus far), and it’s an easy contender for Best Picture.

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