Synopsis: Verona De Tessant (Maya Rudolph) and Burt Farlander (John Krasinski) moved to Colorado to be close to Burt's Parents. Now Verona and Burt expecting their first child and are shocked to hear that his parents are moving to Belgium, leaving them in a place they hate living without a support structure in a place. They set off on a whirlwind tour of of disparate locations (Tucson, Montreal, Miami) where they have friends or relatives, sampling not only different cities and climates but also different families. Along the way they realize that the journey is less about discovering where they want to live and more about figuring out what type of parents they want to be.
Round-up: "Like all Mendes films, 'Away We Go' runs like a finely wound clock," indieWIRE's Jeff Reichert writes, "but one with the face removed—we can’t tell time on it, so all we can do is admir... e the workings of the mechanism." There are a few folks who would significantly disagree. The New Yorker's David Denby quite liked it, noting that the film's "structure is open-ended, ruminative, rumpled almost, in the manner of a road movie from the nineteen-seventies." While The AV Club's Scott Tobias says the film has "an unexpected depth of feeling, a novelist’s (or memoirist’s) sense of detail, and a panoramic view of what home means." However, most critics seem to side with Reichert. "For all the ground they cover geographically, dramatically their velocity remains zero. Mendes, too, seems to have trouble getting on board with the underachieving set, said The Village Voice's Scott Foundas in his review. Variety's Dennis Harvey finds that the film "emerges as an oddly sour, unappealing road-trip scenario." While The New York Times' A.O. Scott writes: "The vague, secondhand ideas about the blight of the suburbs that sloshed around “American Beauty” and “Revolutionary Road” are now complemented by an equally incoherent set of notions about the open road, the pioneer spirit, the idealism of youth."