It’s fitting Jason Reitman’s Up in the Air comes out the same day the Department of Labor releases its monthly job report. With a 10% unemployment rate, job security is an issue on the minds of many. Up in the Air taps into economic concerns by presenting Ryan Bingham (George Clooney), a man whose sole purpose is to fire people. Right or wrong, Ryan values his lack of roots. Reitman tells the story of how several patient women reawaken his desire for a genuine human connection. It is a disservice, however, to simply describe the movie as a love story. It’s above all observant, with perfectly calibrated performances and a sharp screenplay. Many love stories rely on broad caricatures – here is one with plausibly interesting characters, the kind you could meet at a bar and come to care about. Like Juno and Thank You for Smoking, Reitman’s latest contains unexpected depths that’ll reward multiple viewings.

One of the perks of Ryan’s job is he spends little time in his Omaha home. Flying around the country, he accumulates  flyer miles and other hotel/airline perks. He believes he performs a helpful service, and experience informs his work as a “termination facilitator.” One day his boss (Jason Bateman) hires Natalie (Anna Kendrick), a recent college graduate who wants to fire employees via video conference. There’s already a detached element to Ryan’s work, so he’s skeptical of Natalie’s proposal. Begrudgingly the two work together, so she can learn from his experience. She does not just learn about the job. In a wry sequence, Ryan shows her how to fly efficiently, and which airport security line moves fastest. Meanwhile Ryan meets Alex (Vera Farmiga), another jet-setter who values independence and fetishizes traveling perks. Their relationship gets physical quickly. Without even realizing it, Ryan develops feelings for Alex. The wedding of Ryan’s sister (Melanie Lynskey) is quickly arriving, and Alex tags along as his date. Maybe for the first time in his life, Ryan considers settling. And as a man who values isolation, he has plenty to learn if he wants to join the rest of us.

The secret to Reitman’s success is an understated approach, coupled with trust in the audience. The characters are articulate, but unlike Juno, the screenplay never feels written. Some scenes, such as the one where Ryan and Alex help Natalie through a crisis, combine just the right mix of comedy and pathos. The cast is uniformly excellent. Ryan Bingham is a perfect role for Clooney, and after a string of overwrought mother roles, Vera Farmiga finally gets to play a believably gentle woman. The movie’s biggest surprise comes from Anna Kendrick. Other than Up in the Air, I’ve only seen her play Bella’s ditzy friend in the Twilight movies. Here Kendrick is perky and vulnerable, and it’s a delight to regard her chemistry with Clooney. Even a comic actor like Danny McBride downplays his schtick, and lets the audience establish sympathy slowly. Once again,  Reitman’s subtle directorial choices serve the story. Brusque cuts of Ryan packing  establish his travel skill, and long takes of the final reel highlight Ryan’s loss. All the elements culminate in a strangely satisfying ending that’s both melancholy and hopeful.

I just realized I haven’t mentioned the scenes where people are fired. Reitman casts character actors and actual downsized employees, and the effect is startling.  These scenes are often painful, and  it’s rewarding to watch Ryan subtly grow as the layoffs continue. Ryan must learn plenty about human nature after putting so many in an undesirable place, and like the production team, he always resists the urge to pander. When I reviewed New Moon, I mentioned how I use the watch test to determine whether a movie is any good. I never looked at my watch during the movie, and was instead enthralled by first-class entertainment. Up in the Air is warm, smart, and one of the year’s best.