[Juno]'s aura and sincerity touched some of the audience at that time, including me, and [Thank You for Smoking], which relied on dialogue and cheating, was really addicting. When I finally saw this [Up in the Air], I thought that Clooney and the little valet would repeat the scene of a tobacco spokesperson and a female reporter, and the ups and downs of the workplace were instantly thrown into the air. The most anticipated philosophical dialogue and distorted sermons were hastily completed in the first half hour, and the second half of the movie seemed to be discouraged.
It's not mileage that you fly, it's loneliness. When Clooney's Platinum Supreme Card couldn't be exchanged for a sense of accomplishment, I knew I shouldn't have the mentality of watching another [Thank You for Smoking]. It's just that the so-called point-and-click ending is wonderful, I can't feel it. It's better to reminisce about Clooney's dashing self-confidence before the disappointment, the unmarried couple popping out of the suitcase, and the quick editing without any technical content.
The U-turn at the airport, the renewing of the marriage with an irresponsible identity and tone, and the resolute exit during the speech, the intention of the sudden turn seems too obvious. The twist is that Natalie, who left the field of vision in a hurry, was put on hold for a long time and then reappeared. The disappointment in love and the "lost and found" in the workplace seemed to be forcibly screwed together at the last moment. As for the few faces that finally said the topic, the protagonist's self-talk when he entered the cloud again seems to be an unsatisfactory end to the film.
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