Los descendientes

Cuando tengo una historia sólida, no necesito ubicarla en el entorno de Hawái. Por lo demás, un agradable vistazo a las relaciones familiares entre el padre y las hijas, y su despedida de la madre moribunda. Un poco de emociones, un poco de sinceridad, un poco de humor. Todo presentado decentemente y con sensibilidad, pero nada especial, sin sorpresas ni dramatizaciones importantes. Se merece cuatro estrellas gracias a Clooney con su papel que le queda perfecto, así como al personaje de Matthew Lillard, quien es probablemente el elemento más brillante y animado de la película. Entre copas fue una «aparición» bastante grande y dejó una huella más significativa. (17.01.2012)

Děti moje jsem si poprvé pustil před dvěma lety a už se k nim až do dneška nevrátil. Tehdy mě příběh nechytl, dnes to říci nemohu. Připadá mi, že je to film, který se divákovi buď do nálady trefí nebo ne. A jelikož já jsem velký příznivec hořkosladkých filmů a la život sám o sobě, tak jsem spokojený. Clooney hraje výborně a pro Shailene Woodley mám slabost v čemkoli a jakkoli. Hezký snímek. (11.10.2017)

**SPOILER ALERT** – When I'm supposed to experience a family crisis along with the main character, I don't want to be sighing over Hawaii. George Clooney certainly delivers his performance to the fullest (even though the role of a well-meaning father doesn't really suit him), but this bumpy journey is ultimately disappointing. It's the supporting characters, led by the unsympathetic idiot Sid and, above all, the screenplay that are to blame. I can't engage in suffocating depression when a few seconds later I'm supposed to laugh at absurd situations, and I certainly don't enjoy watching a story that keeps going and going – and doesn't end. Matt doesn't come to terms with his wife's death or infidelity in any way, he merely functions in order to be there for his daughters, and five minutes before the closing credits he whispers the obligatory "Goodbye". It's only thanks to Clooney's brilliantly conveyed emotions that a third star also washed up with the tide. Unfortunately, Alexander Payne's approach to thought-provoking drama is once again not for me. (01.02.2012)

"Hello, it’s Clooney. You know, death is not an easy thing, especially when you have two healthy children, millions in your account, a house in Hawaii and a woman who cheated on you with a real estate agent because she was bored..." - "I know, George, but don't call me anymore..." Therapeutically toothless and an emotionally instant product that is numb and unable to admit that the true dignity of death in the film looks a little different than this messy warm road movie, which absolutely lacks anything bitter and realistic... I'm sorry to have to write this, but Clooney is a bit of a contemporary Jekyll and Hyde - on the one hand, a shrewd critic of contemporary society, on the other hand, an engineer of human hearts in the service of capitalist realism. Despite a couple of nice scenes (Clooney's dialogue - daughter in the pool or the scene with the wife's friends), I don’t really get The Descendants, just like Up in the Air. I don't think everything is OK in a film where, in the potentially strongest father-daughter dialogue, the father is replaced by a family therapist. Not even with the world that is impressed by this. My battle. (10.01.2012)

The slow, depressing undertones of simple contemplation of important life values, with an excess of unconcealed emotions and interpersonal warmth. Which is indisputably the greatest certainty of Payne’s films. However, he did a respectable job with the given material, which would have tempted many other filmmakers to engage in (even) greater affectedness.  The film preserves its sense of detachment in relation to the supporting characters, whereas it is more accommodating toward the leads than they deserve.  Of course, I doubt that the members of the Academy will take the same cynical attitude. 70% (10.01.2012)