Hawaii is usually seen in movies as a serene sabbatical that is the source of relaxation. In Alexander Payne's The Descendants, there isn't a grass skirt to be seen. Instead, he uses the ideal islands as a backdrop for domestic dysfunction. This isn't a movie where the characters are seen in a glass house; rather, the layers of the porcelain perfect surface are peeled back to see the uneasy but realistic cracks.
Seven years is too long of a tease to make audiences pine for Alexander Payne's to return to the director chair. I'm glad to report that The Descendants, his feature film follow-up to the award-winning Sideways (Payne did direct a short segment in 2006's Paris Je T'Aime), is well worth the wait.
Unlike Payne's other works where he undercuts his characters with their own unassuming pathetic actions, The Descendants is filled with decent, albeit lost, characters. The sweeter than expected undertones of seeing decent people do decent things makes this Payne's most endearing and micro-work yet.
As easy going as the shifting waves in the Pacific Ocean, the Hawaiian-set picture revolves around the work-obsessed lawyer and land baron Matt King. After a boating accident leaves his thrill-seeking wife comatose in the hospital, Matt attempts to step up from his “back-up parent†position to take care of his two daughters in their drifting family.
Based off of the same-name novel by Kaui Hart Hemmings, the screenplay penned by Alexander Payne, Nat Faxon and Jim Rash (the latter two are newbie writers, more known for their sitcom acting work) casts a wide initial net of characters and plotlines. As the nearly two hour film progresses, a movie starts to form, narrowing in on the King family while naturally and skillfully losing the various external noise first introduced.
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