Movie review: Away We Go

by Alex Bentley

It's pretty easy to tell that Away We Go is a product of the independent film world. Though a few bigger names show up in smaller roles, the two main characters, Burt and Verona, are played by John Krasinski (The Office) and Maya Rudolph (Saturday Night Live), two actors known more for their TV work than anything else. It's also written by two first-time screenwriters, husband/wife team Dave Eggers and Vendela Vida, although both are accomplished novelists. The only person out of whack with the independent mindset is director Sam Mendes, who had been a solid studio director since his debut with American Beauty 10 years ago.

Despite the lack of cumulative film experience, however, Away We Go succeeds by adhering to the KISS principle: Keep it simple, stupid. Neither Krasinski nor Rudolph is asked to stretch that much in their roles, and the story is structured in such a way that it exploits all of their strengths and none of their weaknesses. The duo play an unmarried (her choice, not his) couple who are expecting a baby. When Burt's parents (the sublime Catherine O'Hara and slightly less sublime Jeff Daniels) react to the news of the pregnancy by announcing they're moving to Belgium, Burt and Verona decide to take the opportunity to start over again in a new city.

Thus starts a journey that will take them from Phoenix to Tucson to Madison, Wisconsin, to Montreal to Miami in search of a place suitable to both their tastes. Each stop is made because either a friend or a family member lives there, and each just so happens to give Burt and Verona some insight on what and what not to do to be a good parent.

Lily (Allison Janney), a former co-worker of Verona's, and her husband Lowell (Jim Gaffigan) seem to come from the passive-aggressive mindset, constantly (though, for purposes of the film, humorously) bashing their kids' self-esteem. LN (Maggie Gyllenhaal), Burt's “cousin” (the two aren't really related), and her husband Roderick (Josh Hamilton) go the opposite route, taking the new age approach that allows breast feeding well past the acceptable age, encourages a massive “family” bed, and abhors strollers of any kind because LN wants to embrace the child, not push him away from her.

Tom (Chris Messina) and Munch (Melanie Lynskey), college friends with a rambunctious quartet of adopted children, actually offer Burt and Verona the closest to their “normal” they can find, but the outward happiness they project masks an unexpected sadness. Sorrow is more evident with Burt's brother, Courtney (Paul Schneider), who's suddenly forced to raise his daughter alone after his wife up and leaves the two of them. It's these last two stops that seem to shape Burt and Verona's final decision more than the rest, leading to an ending that's understated yet perfect for this type of story.

Krasinski is great as Burt, even if he's playing a thinly-veiled version (via a full beard and shaggier haircut) of Jim Halpert, his character on The Office. Rudolph is more of the revelation here, bringing a dramatic depth to Verona that one would not expect given her sketch comedy background. All of the supporting characters have their moments, though Janney and Gyllenhaal steal their respective segments with their loopy performances.

The film seems quite the departure for Mendes, whose previous takes on relationships (American Beauty, Revolutionary Road) have a decidedly less sunny view of love. In contrast, Burt and Verona are so connected that at one point Burt is forced to fake an argument (one of the funnier moments of the film). But just because the two don't go through an arc that includes relationship angst doesn't make their bond any less believable or compelling..

Away We Go is a non-showy exploration of love, family, and the meaning of home, which means it's almost destined to get lost amidst all the summer blockbusters. Don't let this gem pass you by.