A land baron tries to reconnect with his two daughters after his wife is seriously injured in a boating accident.A land baron tries to reconnect with his two daughters after his wife is seriously injured in a boating accident.A land baron tries to reconnect with his two daughters after his wife is seriously injured in a boating accident.
- Director
- Writers
- Alexander Payne(screenplay)
- Nat Faxon(screenplay)
- Jim Rash(screenplay)
- Stars
Top credits
- Director
- Writers
- Alexander Payne(screenplay)
- Nat Faxon(screenplay)
- Jim Rash(screenplay)
- Stars
- Won 1 Oscar
- 65 wins & 148 nominations total
Videos10
Jon McManus
- Cousin Six
- (as Jonathan McManus)
- Director
- Writers
- Alexander Payne(screenplay)
- Nat Faxon(screenplay)
- Jim Rash(screenplay)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaWhen Matt King describes his inherited wealth, he says, "I don't want my daughters growing up entitled and spoiled. And I agree with my father; you give your children enough money to do something but not enough to do nothing." This is based on a well-known quote from billionaire investor Warren Buffett in a 1986 Fortune magazine interview. "Setting up his heirs with a lifetime supply of food stamps just because they came out of the right womb can be harmful for them and is an antisocial act. To him the perfect amount to leave children is 'enough money so that they would feel they could do anything, but not so much that they could do nothing.'"
- GoofsThe resort models shown could not be built. Kaua'i's "coconut tree" building law states that new construction cannot be more than 4 stories tall.
But this Princeville hotel is a real hotel because it's built on a hill. The Top floor is at ground level and the hotel is built with multiple stories going down to the Ocean.
- ConnectionsFeatured in Ebert Presents: At the Movies: Episode #2.17 (2011)
- SoundtracksKa Makani Ka'ili Aloha
Written by Matthew Kane
Arranged and Performed by Gabby Pahinui
Courtesy of Panini Records
Top review
The rare fuse of amazing direction and brilliant performances
It has been quite some time since the Toronto International Film Festival, but I still have trouble coming up with something negative to say about The Descendants. It was a film I was immensely excited to see, and one that I think I just managed to squeak into on the second last day of the festival. I tried to not overhype myself, but with George Clooney teaming up with Alexander Payne, a filmmaker whose last film was made almost a decade ago, I could barely contain myself.
Matt King (Clooney) just found out that his wife is in a coma in the hospital. Matt has always been one to put things off, and has never really found time for his kids. But in this time of need, he finds that he is struggling to identify with older daughter Alexandra (Shailene Woodley) and younger daughter Scottie (Amara Miller). When he learns of a stunning secret about his wife, it thrusts him into an adventure alongside his daughters to find out the truth, while also finding himself.
From beginning to end, Payne has crafted an endearing film that is hilarious and devastating, often in the same sequence. This is a more calculated family-related effort than I originally thought it would be (with a bit too much emphasis placed on the extended family and land owning subplot), but it is the driving force of everything that happens on-screen. He never overindulges, and never gets too far ahead of himself. He lets the drama play out just as much as he does the comedy, and always keeps the film moving at a borderline ridiculous pace. This may be an indie, but it speaks more to the mainstream than Sideways ever even tried to. It is a truly spectacular work, and one that proves the worth of a talent that has been gone for far too long.
While he already solidified his leading man status years ago, Clooney quite simply knocks this one out of the park. It is not the typical role we are accustomed to seeing him in, and I think that is what sells it the most. This is a very mature role for Clooney, away from the playboys, the lotharios and the screwballs. He is out of his element, much like the character he is playing, thrust into a situation he never expected in a very adult way. He plays Matt in a very nuanced way, always hovering along the fine line of being a struggling parent and having a full blown emotional breakdown. Clooney has continually proved that he is willing to reinvent himself, and his work here is no different. From the moment he steps on-screen, you are simply enamoured by his presence. We can see the brief twinkle in his eye that suggests he is still the Clooney we all know and adore, but his hardened exterior suggests he is trying to camouflage that fact. I said years ago that Up in the Air was his strongest work. But his work here makes it look positively amateur in comparison.
For all of Clooney's brilliance, it is surprising to note that Woodley almost steals the movie entirely away from him. While she has had quite a lot of experience on television, this is her first real film role and is an immeasurable breakout. The trailer suggests she is a bit of a wild child, but seeing the heartbreak and pain in her face after she finds out what has happened to her mother is enough to make you want to weep uncontrollably. Lucky for her, she gets more than one scene to prove her emotional chops, and she nails each and every one. She holds her own against Clooney, and has just the right amount of charisma and angst to make her character above and beyond believable. Her struggle to find her place and to help her father on this adventure is the emotional crux of the film, and the real driving spirit. She may be extremely younger than Clooney is, but she is an old soul. Their relationship and chemistry is amazing, and should she have been acting against a less capable actor, I doubt she would be anywhere near as powerful as she is.
The supporting cast, made up of Beau Bridges, Judy Greer, Nick Krause, Robert Forster and an almost unrecognizable Matthew Lilliard, are all excellent in their small roles. All of them get some really memorable moments to shine, and help to make Clooney and Woodley's performances even greater. Special mention needs to go to both Patricia Hastie, who is confined to a hospital bed for all but about thirty seconds of her screen-time as Matt's wife Elizabeth, and newcomer Miller as Scottie. She is naive and innocent throughout, never once coming off as that annoying kid you try to forget exists. She has a lot of fun in the role, and strikes a real emotional chord at just the right moments. I can only hope directors continue to use her in the future for roles that are just as good, if not better.
It may have taken me practically two months to write about it, but I still find myself at a loss for words about The Descendants. It is finally rolling out into theatres now, and I cannot wait to see the film again. The cast is amazing, with Clooney coming out swinging. Payne may have taken his time finding a follow-up for Sideways, but what he has returned with is nothing short of amazing. Run, drive, fly – whatever you have to do, just make sure you do not miss it.
9/10.
Matt King (Clooney) just found out that his wife is in a coma in the hospital. Matt has always been one to put things off, and has never really found time for his kids. But in this time of need, he finds that he is struggling to identify with older daughter Alexandra (Shailene Woodley) and younger daughter Scottie (Amara Miller). When he learns of a stunning secret about his wife, it thrusts him into an adventure alongside his daughters to find out the truth, while also finding himself.
From beginning to end, Payne has crafted an endearing film that is hilarious and devastating, often in the same sequence. This is a more calculated family-related effort than I originally thought it would be (with a bit too much emphasis placed on the extended family and land owning subplot), but it is the driving force of everything that happens on-screen. He never overindulges, and never gets too far ahead of himself. He lets the drama play out just as much as he does the comedy, and always keeps the film moving at a borderline ridiculous pace. This may be an indie, but it speaks more to the mainstream than Sideways ever even tried to. It is a truly spectacular work, and one that proves the worth of a talent that has been gone for far too long.
While he already solidified his leading man status years ago, Clooney quite simply knocks this one out of the park. It is not the typical role we are accustomed to seeing him in, and I think that is what sells it the most. This is a very mature role for Clooney, away from the playboys, the lotharios and the screwballs. He is out of his element, much like the character he is playing, thrust into a situation he never expected in a very adult way. He plays Matt in a very nuanced way, always hovering along the fine line of being a struggling parent and having a full blown emotional breakdown. Clooney has continually proved that he is willing to reinvent himself, and his work here is no different. From the moment he steps on-screen, you are simply enamoured by his presence. We can see the brief twinkle in his eye that suggests he is still the Clooney we all know and adore, but his hardened exterior suggests he is trying to camouflage that fact. I said years ago that Up in the Air was his strongest work. But his work here makes it look positively amateur in comparison.
For all of Clooney's brilliance, it is surprising to note that Woodley almost steals the movie entirely away from him. While she has had quite a lot of experience on television, this is her first real film role and is an immeasurable breakout. The trailer suggests she is a bit of a wild child, but seeing the heartbreak and pain in her face after she finds out what has happened to her mother is enough to make you want to weep uncontrollably. Lucky for her, she gets more than one scene to prove her emotional chops, and she nails each and every one. She holds her own against Clooney, and has just the right amount of charisma and angst to make her character above and beyond believable. Her struggle to find her place and to help her father on this adventure is the emotional crux of the film, and the real driving spirit. She may be extremely younger than Clooney is, but she is an old soul. Their relationship and chemistry is amazing, and should she have been acting against a less capable actor, I doubt she would be anywhere near as powerful as she is.
The supporting cast, made up of Beau Bridges, Judy Greer, Nick Krause, Robert Forster and an almost unrecognizable Matthew Lilliard, are all excellent in their small roles. All of them get some really memorable moments to shine, and help to make Clooney and Woodley's performances even greater. Special mention needs to go to both Patricia Hastie, who is confined to a hospital bed for all but about thirty seconds of her screen-time as Matt's wife Elizabeth, and newcomer Miller as Scottie. She is naive and innocent throughout, never once coming off as that annoying kid you try to forget exists. She has a lot of fun in the role, and strikes a real emotional chord at just the right moments. I can only hope directors continue to use her in the future for roles that are just as good, if not better.
It may have taken me practically two months to write about it, but I still find myself at a loss for words about The Descendants. It is finally rolling out into theatres now, and I cannot wait to see the film again. The cast is amazing, with Clooney coming out swinging. Payne may have taken his time finding a follow-up for Sideways, but what he has returned with is nothing short of amazing. Run, drive, fly – whatever you have to do, just make sure you do not miss it.
9/10.
helpful•10065
- DonFishies
- Nov 16, 2011
Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Tình thân
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $20,000,000 (estimated)
- Gross US & Canada
- $82,584,160
- Opening weekend US & Canada
- $1,190,096
- Nov 20, 2011
- Gross worldwide
- $177,243,185
- Runtime1 hour 55 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
Contribute to this page
Suggest an edit or add missing content

Recently viewed
Please enable browser cookies to use this feature. Learn more.