Sam Mendesis hardly synonymous with heartwarming. FromAmerican BeautytoRevolutionary Road, his portrayals of domesticity tend to explore a cultural rot in lieu of true love; but his hidden gem,Away We Go,is a surprisingly soft, funny portrayal of domestic life. The film opens with the high stakes of a surprise pregnancy—Burt (John Krasinski) and Verona (Maya Rudolph) are deeply in love, but every other aspect of their life feels off. Their house has broken windows, Burt’s underpaid at a job where he can’t be himself, and Verona is an illustrator who feels disconnected from art. Verona gives a sad revelation early on: “We don’t live like grown-ups.” This sends them on aroad tripto find the perfect home to raise a child.
Rudolph’s comedic range and charming sincerity mesh withKrasinski’s golden retriever energy to make easy chemistry. When Verona’s walls go up, Burt’s patience and sense of humor bring them right back down again. Likewise, Verona is always pushing Burt to be himself, make mistakes, and is supportive through all of it. Through their give and take,Mendes explores the overlooked coming-of-age that many people experience in their 30s.
John Krasinski and Maya Rudolph’s Natural Chemistry and Humor Guide ‘Away We Go’
Reflecting the listless, perpetual student living thatmany millennialsfound themselves in, the film explores what makes a homehomeand what keeps people from pursuing it. Verona’s parents died in a car accident when she was in college, and she’s quite cagey about official things like marriage and homeownership. Burt’s parents—played at 11 byCatherine O’HaraandJeff Daniels—are determined to move to Europe before their grandchild is even born. Theirselfish whims and pseudo-intellectualism bring out the more intense side of Burt’s dry humor and self-doubt.This, paired with stable but stagnant jobs—Verona is a freelance illustrator and Burt is in insurance sales—could trap anyone into short-sighted living.
With no grandparents to help,Burt and Verona have no choice but to anchor themselves for the sake of their child.Burt and Verona take turns approaching their breaking point, yet never hit a point of neurotic hysteria. This is comically demonstrated by Verona wishing that she and Burt would fight more, for the sake of the baby’s heart rate. Burt spends the next leg of their journey mock fighting Verona, only to pull out the heartbeat monitor excitedly to listen to their little girl’s heart race. As they travel from place to place, never wholly satisfied with where to build a home, itbecomes clear that their relationship is a stable foundationfor anything. At the time and even now, it’s refreshing to see a couple and a relationship so heartwarming, yet still so human.
‘Away We Go’ Pairs a Stellar Ensemble With a Unique Soundtrack
Away We Godoesn’t rest on its leads’ chemistry alone— asupporting cast of characters that flit between hilarious caricatures and painfully real human beings fill the spacesin between more intimate moments. Mendes lets these performances define each destination, and as the couple tours the country, every region has a new friend to potentially anchor them. The film’s incredible ensemble seesAllison Janneyas a high-pitched, abrasive mess of a mother in Phoenix. In Tucson, Verona’s sister, Grace (Carmen Ejogo),reminds her that her child will continue their deceased parents’ legacyand in Miami, Burt’s brother, Courtney (Paul Schneider), and his daughter affirm for Burt the kind of father he wants to be.Maggie Gyllenhaalis a crunchy mom final boss, and heavy-hittersMelanie LynskeyandChris Messinagive devastating performances that ground the film and solidify Burt and Verona’s love for each other and the family they’re about to become.
Musicis as important to the emotional palette of the movie as the performances. Adiegeticuse ofThe Velvet Undergroundplays almost in its entirety for the film’s emotional turning point. With drops fromGeorge HarrisonandThe Stranglers, it’s classic, nostalgic, and understated. But it’s the songs crafted by Scottish artistAlexi Murdochthat truly round out the timeless, folksy feel of the film. With three songs written for the film and his pre-existing hit “All My Days,” Murdoch is as much a part of the film asSimon & Garfunkelwere ofThe Graduate. The sonic environment reflects the stripped-down, simple, but ultimately open and adventurous life they envision not just for themselves but for their daughter.
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Away We Goencompassesthe best of 2000sdramedy tropes. Mendes avoids the synthetic sheen ofromantic comediesof the time and never falls into the trap of taking things overly seriously. In trusting the universal desire to plant your roots and share your life with someone—be that your partner, your friends, or people you used to know in a city far away—this simple story captures both the practical and emotional requirements for a home. With an ending that feels like a beginning,it resonates beyond the time it so beautifully captures.
Away We Go
