World Hum Travel Movie Club: ‘Away We Go’

06.12.09 | 11:04 AM ET

Following exclusive engagements in Los Angeles and New York City, “Away We Go”—the new road trip dramedy penned by novelists Dave Eggers and Vendela Vida—opens in theaters nationwide today.

World Hum Travel Movie Clubbers Eva Holland and Eli Ellison flashed their impressive World Hum media credentials and gained access to advance screenings. Here’s their take on the film that will have The Believer magazine subscribers and others lined up around the block this weekend.

To: Eli
From: Eva
Subject: What’s a pair of young parents to do?

From the previews, I expected “Away We Go” to be a sweet, funny journey through a colorful American landscape of quirky characters—which it was, in some ways. Only the landscape wasn’t as colorful as I’d anticipated. And the characters? Well, it seemed like most of them were less funny-quirky and more horrid-quirky. Let’s start with that second point, shall we?

The story follows Burt and Verona, unmarried 30-something parents-to-be, as they set out to find a home for their family. After Burt’s shallow, WASP-y parents drop the news that they’ll be moving to Belgium just one month before the due date, the couple realizes they’re no longer tied to any one spot. So they visit friends and relatives in Phoenix, Tucson, Madison, Montreal and Miami in hopes of finding a place where they can belong. Alright so far—but Eli, Burt’s parents are so cartoonishly dreadful (“Now just how dark do you think the baby will be?” the mother asks mixed-race Verona at one point) that I wondered why the pair ever wanted to live near them in the first place. And that trend—of nice Burt and Verona encountering truly unpleasant people—continues through Phoenix, with a hilariously crude, loudmouth ex-colleague, played by the always wonderful Allison Janney, and Madison, where Burt meets up with a childhood friend (Maggie Gyllenhaal) who has grown up to become aggressively, obnoxiously new age-y.

Of course, these encounters provide a lot of the movie’s laughs, but after a while they started to wear me down. The lesson seems to be that the world is full of ugly, nasty people raising their children to be ugly, nasty people—hardly a cheery message for poor Burt and Verona, about to have their first child.

Beyond the nasty-quirky characters, what really let me down was that American landscape. I was primed for some serious road trip porn, and for the most part I didn’t get what I was after. Sure, there were some nice sequences: a good drive through Arizona, for instance, and some bang-on scenes that capture the in-between-ness of airports and airplanes. But for the most part this was a movie more about the people than the places—and, well, I’ve already said my piece about the people.

Here’s what I did like: I thought large chunks of the script were hilarious, and I loved the odd, sweet chemistry between Burt and Verona, played by John Krasinski and Maya Rudolph. That relationship forms the core of the movie, so I suppose, overall, this one was a winner in my book.

What about you, Eli? Did you enjoy your cross-country tour with Burt and Verona? Or did you just want them to go away?

To: Eva
From: Eli
Subject: Drag me to indie hell

Did I want Burt and Verona to go away? Before seeing the movie, I did. Watching the trailer, all the pretentious indie “film” red flags were there. Quirky, we’re-smarter-than-you dialogue written to wow NPR disciples and McSweeney’s weenies? Check. Movie poster art done in crayon and “Juno” font? Check. Poignancy punctuated by soft acoustic guitar and vocals by under-the-radar singer/songwriter? Quick, somebody get me a MacBook and a cup of fair trade coffee. Must Twitter.

A ridiculous stereotype? Sure. But so is nearly every character in this picture. And that’s one of its downfalls. As you pointed out, the “quirky-horrid” characters are clearly meant to be comic relief. Janney and Gyllenhaal do deliver wickedly funny scenes (the latter’s sea horse sex talk is hilarious), but the stereotypes wear thin and turn unfunny fast. And frankly, by the movie’s mid-point, I was a bit bored.

Thankfully, as you said, Krasinski and Rudolph are great together. I believed them as a real couple, which is tough to pull off. Credit the actors and literary IT couple Eggers/Vida for writing some perceptive, nicely understated dialogue. The only problem with our heroes is they’re immune to ridicule. While the movie takes great pleasure in mocking society’s unenlightened dregs, never once are Burt or Verona the butt of a joke. And no, Burt’s bumbling doesn’t count. It’s clearly intended as an endearing quality.

The supposedly clueless golden couple is untouchable. Is it perhaps because the movie is autobiographical? Are Eggers and Vida a bit too self-important to laugh at themselves? At times, I thought the movie felt a little smug. How ‘bout you?

Ok. I’ll stop sounding like a pompous film critic now and talk travel. No, this isn’t your classic road trip flick. As you pointed out, the people are the places. But that’s often the case in life, so I can’t fault the film for being realistic. As for capturing the feeling of Airworld and train travel and cheap motels, I agree it was all spot-on. How ‘bout Montreal? You’re a Canuck. Did that look and feel right?

Yes, like you, I came away a tad disappointed we didn’t get sweeping, grandiose shots of the American landscape. But remember, Eva, that’s so Hollywood cliché. And this movie is so indie. Did I enjoy tagging along on Burt and Verona’s trip? Yes and no. Mostly no. What about you? You call this a “winner,” yet your review seems lukewarm.

To: Eli
From: Eva
Subject: Pilgrimage to Montreal

You make a good point about Burt and Verona sliding through the story with immunity, Eli. I was trying to put my finger on something that bothered me even as I enjoyed the pair—it felt like there was a sort of disconnect between the two of them and the people/places that surround them—and I think you’ve nailed it. Sure, they seem anxious about parenthood as they watch the future generation being methodically destroyed around them, but they seemed anxious about parenthood to begin with. I didn’t get a sense of transition, any the-enormity-of-parenthood-dawns-on-them moments, from their encounters with the Allison Janneys and Maggie Gyllenhaals.

Smugness? As you say, not nearly as much as you’d expect from the trailers. And I think Burt and Verona themselves (or, at least, Burt) are almost too innocent to be truly smug—but that doesn’t mean the folks watching at home aren’t supposed to be laughing at the cartoon characters our duo meets along the way. And yeah, maybe there is something a little indie-obnoxious about that.

Hey, speaking of indie-obnoxious, you mentioned Montreal. Can I admit that when Verona noted that Montreal was on the itinerary, I laughed out loud? Because of course it was. Montreal is the hipster Holy Land. Where else can young Americans BYOB at European-style cafes, pay absurdly low rent (relatively speaking), practice a foreign language and wallow in the latest indie rock all day long? Well, Eastern Europe, probably. But Europe doesn’t have an Amtrak station. That being said, I thought the scenes there caught the energy and after-hours life of the city really well. And naturally my fellow theater-goers and I cheered when Verona dropped a poutine shout-out.

So, you caught me: I claim to like this movie, but I’ve spent most of my time here talking about what didn’t work for me. The truth is, beyond a general appreciation for the script and the acting, and in particular the two leads (and hey, that’s a great start right there, isn’t it?) I’ve had a hard time sorting out just exactly how I feel about it. And I’ve spent the last couple days thinking back to the flick and trying to figure it out. That must mean they’ve done something right ... right?

To: Eva
From: Eli
Subject: Scrambled Eggers and a side of gravy fries

“Smug” is the wrong word (quick, someone enroll me at Eggers’ 826LA tutoring center ). And I wasn’t talking about the Burt and Verona characters themselves. I guess what I’m trying to say is the overall tone has a whiff of self-righteousness, or as you put it, “indie-obnoxiousness.”

As for big “ah-ha” parenthood moments, no, there aren’t any. But in the final act there are subtle mini-epiphanies, some unspoken. Watch Burt and Verona during the cringe-inducing pancake syrup speech. Better yet, give the ridiculous Montreal nightclub dance another whirl.

As I said, the movie’s main problem is dullness. Away We Go ... To Sleep is more like it. Yet, despite instances of gag-me dialogue (“Nobody’s in love like us, right?” asks Verona), I did find some of the script thoughtful and witty. But the laughs were in short supply, and the pacing could’ve been breezier.

Poutine?! Always knew you elitist Canadians were no better than us savages south of the border. Speaking as one, I’m embarrassed to admit I didn’t know Montreal was the hipster capital of Canada, though should have. This is the city that spawned Arcade Fire. Can you imagine if the band had done the soundtrack? “Away We Go” would be the heir apparent to Garden State, surely causing indie-hipsters everywhere to spontaneously combust.

Your mixed feelings mean they’ve done something right? Well, they’ve done some things right. Eggers and Vida should give movies another shot and inject their next screenplay with this “Staggering Genius” I’ve heard so much about. And maybe if they tap someone other than Sam Mendes to direct, “Away We Go 2: Hipster Boogaloo” will be a winner.

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