Movie Review: Sideways

Sideways

Sideways has been out for awhile, but in relatively limited release. With Oscar™ nominations to bolster its perceived popularity, though, the film finally made it to my small town. Critics love Sideways. Still, it's a movie I would probably have foregone had it not received a couple of Golden Globes and garnered those Oscar™ nods (come on, let's be honest: a movie about two middle-aged men galavanting through California wine country isn't my idea of a big day at the movies). That's not because I trust the critics or the awards shows, but rather because I like to watch awards shows and then complain—or not—about who won and who didn't.

Sideways is the deceptively simple tale of two middle-aged men, Miles (Paul Giamatti) and Jack (Thomas Haden Church), who are off to California's wine country for a week to celebrate Jack's impending nuptuals. Miles is a failed writer who teaches middle school English, while Jack is a has-been actor fortunate enough to find himself a fiancée from a wealthy family. Miles has still not recovered from a divorce two years earlier, while Jack isn't entirely sure he's able to commit to one woman even at this later stage of his life. Miles is a wine connoisseur; Jack will drink pretty much anything if there's alcohol in it. Miles is depressed (and depressing), in contrast to Jack's determined happy-go-lucky attitude about everything, particularly women. But the two former college roommates have somehow parleyed that one commonality into a lifelong friendship, and as Jack's best friend and soon-to-be best man, Miles is determined to show Jack a good time whether he himself feels like having one or not.

Although their route to northern California is a little less direct than both would have liked, the two finally arrive at the Windmill Motel which is to be their base for the week. Miles has been to the area many times before, and has a difficult time dealing with memories of himself and his ex-wife in the same places. Jack, meanwhile, determines that not only is he going to have one last fling (or two or three), but that he's going to ensure that Miles "gets some," too. Jack flirts with every female his path crosses, including Stephanie (Sandra Oh), a wine pourer at a winery the two visit. Miles, meanwhile, still seems to think he and his ex-wife have a chance of getting back together, and not even Maya (Virginia Madsden), a pretty waitress with an affinity for wine, is able to pique his interest.

As the days pass, Miles and Jack spend time with Stephanie and Maya largely at Jack's insistence. In the most ordinary of circumstances, secrets are revealed, new wounds are opened, and old wounds heal. Hopes are raised and dashed. And throughout, wine—ranging from its ingredients to its making to its many possible tastes and bouquets—plays a supporting role that proves interesting and surprisingly effective.

The acting in Sideways is utterly fantastic. Though Thomas Haden Church and Virginia Madsen are nominated for Oscars™ in supporting roles, many critics believe that Paul Giamatti should have been nominated himself in the Best Actor category. I agree. He seems completely natural as Miles, and it's that apparently effortless acting that takes so much talent and, well, effort to pull off. The editing is flawlessly managed, and there are some very interesting directorial choices (not least of which are some creative camera angles and split screen work I found added significantly to both the entertainment value and the storytelling of the film). The reality depicted via skillful cinemetography is just perfect. And though I rarely comment on the music in a movie (outside of musicals, that is), I have to say that the music for Sideways is incredibly well done. Although a bit unusual (I'm at a loss to describe it other than to say it reminds me of Muzak you might have heard in the 1960's or early 1970's), it's never less than ideal for every scene, and there were times the music had me smiling even before the comedy did.

The script for Sideways may be the best screenplay of the last several years (the Academy got it right when it honored the screenplay with a nomination). Instead of saying the perfect thing, the characters in Sideways seem to say whatever comes into their heads just like real people would do. Between the terrific acting and an entirely natural-sounding script, the characters are completely real. We know these people, or we know people a lot like them. As such, instead of feeling for them, we feel with them. Sideways is at times cynical and depressing; at other times it's uplifting. It's never less than interesting and entertaining, and it's often laugh-out-loud funny (even at those times you're a little bit horrified by what's happening onscreen).

I was bemused from the opening scenes, and knew halfway through the movie that I was seeing that rarest of things: a movie that is everything it's been touted to be and then some. If there are flaws in Sideways, I'm at a loss as to what they were. This movie is not the typical critical darling that's too esoteric for the average movie-goer to care about, nor has it been over-sold in any way. In fact, Sideways is just plain wonderful. I can tell you already which way my complaints will go after this year's Academy Awards if Sideways doesn't take Best Adapted Screenplay and Best Picture (for the record, I have a sneaking suspicion that Million Dollar Baby will take the screenplay award, and that Ray will be the Best Picture). But the real Best Picture of the year—and I've seen plenty of movies over the last twelve months, including four of the five nominated films—is Sideways, hands down.

FAMILY SUITABILITY: Sideways is rated R. There's some rough language and a little nudity. The theme is also quite adult. Sideways is in no way suitable for anyone under 17. But for those older than 17—and the more older than 17 you are, the more likely you are to relate to these characters—I recommend Sideways as one of the most entertaining and well crafted movies it's ever been my great pleasure to see.