--- title: "The Descendants" year: 2011 kind: "film" canonical: "https://film.one/film/the-descendants" fi1m_score: 80 critics_score: 77 critics_reviews: 18 published: "2026-09-17T07:34:43.032229+00:00" updated: "2026-09-17T07:34:43.239709+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Descendants (2011) Directed by Alexander Payne · 1h 55m · MPA R · Comedy, Drama **Fi1m score: 80** · Critics 77 from 18 reviews *In a sentence:* George Clooney looks exhausted, his children remain unimpressed, and for once the family misery is worth sharing > Alexander Payne’s family drama is funny, patient and moving, with George Clooney and Shailene Woodley doing its most persuasive work. The voice-over explains too much, and the second half loses some of the early sharpness. ## Synopsis In Hawaii, Matt King (George Clooney) struggles to reconnect with his daughters as they confront the plight of their mother, Elizabeth King (Patricia Hastie). Alexandra King (Shailene Woodley) and Scottie King (Amara Miller) respond differently to the crisis, and neither makes their father’s efforts to care for them straightforward. Matt King wants to look after his children, but he is still trying to work out what they need from him. He has his own grief to manage, too, as the demands of parenting bring the family’s strained relationships into focus. ## Review Alexander Payne’s *The Descendants* is a warm, funny family drama that becomes moving without pretending its people are especially good at looking after one another. Its chief pleasure is watching George Clooney’s Matt King attempt fatherhood when looking composed is no longer much use. The film takes grief seriously, but leaves room for irritation, embarrassment and badly judged remarks. We recommend it, with a reservation about writing that sometimes explains what the cast has already made clear. George Clooney is persuasive because he lets Matt King seem inadequate without asking us to congratulate him for admitting it. He looks harried, and seems to be working out how to behave while the people around him need an answer now. There is humour in that delay, and something uncomfortable about seeing a father unable to manage an ordinary emotional exchange. A less patient film would hurry him towards a useful speech. Shailene Woodley gives Alexandra King enough resentment to make the father-daughter relationship feel difficult even when the film wants it to become tender. We were moved by her unwillingness to make her father’s discomfort easier. The hurt remains visible beneath her impatience, so his efforts to reach her matter without requiring her to be agreeable. Amara Miller, as Scottie King, helps prevent the daughters from becoming a single shared problem for their father to solve; the younger cast give the family several different ways of responding to distress. Phedon Papamichael’s cinematography makes Hawaii look like somewhere people might have to endure an ordinary miserable day. The images are attractive without suggesting that a pleasant view should make grief easier to bear. Jane Ann Stewart’s production design keeps the domestic surroundings unshowy enough for us to notice the strained family relationships first. Jeff Peterson’s music gives the film a gentleness that mostly feels welcome, though it contributes to the softening of some difficult material. Kevin Tent’s editing gives the actors time to be awkward, which is essential to the comedy, but the second half could be tighter. Alexander Payne, Jim Rash and Nat Faxon’s screenplay, adapted from Kaui Hart Hemmings’s novel, gradually starts explaining feelings that seemed clear enough without the help. The voice-over is the clearest weakness: it supplies guidance when George Clooney’s uncertainty is already legible. His hesitation would tell us enough if the script trusted it. We are wary of family dramas that treat a father’s belated attentiveness as sufficient reason for everyone else to soften. Here, the daughters have enough space to make that less straightforward. The warmer passages are earned by the cast, although the writing occasionally reassures us too quickly. The humour helps because embarrassment does not stop simply because people are suffering. Watch it with someone who does not need every character to behave sensibly. There is pleasure in recognising the mistakes before the people making them do. Any discussion of your own family’s communication skills can wait until another evening. *Fi1m score 80, published 17 September 2026.* ## What the critics say Most critics respond warmly to The Descendants, praising Alexander Payne’s handling of grief, family friction and unexpected humour. The strongest agreement concerns the cast: George Clooney’s unglamorous, troubled father draws sustained praise, while Shailene Woodley stands out within a widely admired ensemble. The favourable reviews find the shifts between comedy and distress persuasive, with several crediting the writing for revealing imperfect people without making them caricatures. Many find it moving without becoming sentimental. The reservations concern softness, familiar material and occasional lapses in pacing, with some otherwise positive reviews finding the second half weaker. The spread is wide, though dissent is limited. The Guardian regards the film as too lenient and sentimental compared with Payne’s earlier work, despite admiring the setting and performances. Paste goes further, finding Clooney flat and the story aimless: a direct disagreement with the performance and emotional involvement that sustain most critics’ praise. ### Reviews we read (18) - **Slant Magazine**, Jaime N. Christley (90/100, inferred): Payne has made not only what may be his best film but one of the very best on the subject of grief, with rich ensemble work and a script that reveals characters through what is said and left unsaid. The film is a bundle of contradictions that is mellow yet centered on death and family dynamics. [Read](https://www.slantmagazine.com/film/the-descendants/) - **The Hollywood Reporter**, Todd McCarthy (90/100, inferred): The film is a wonderfully nuanced look at a father and two daughters dealing with loss that is possibly even funnier than it is moving. George Clooney delivers a top-form performance as the lead. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/descendants-231872/) - **The New York Times**, A.O. Scott (NYT Critic’s Pick): The critic finds the film surprising, moving, and frequently very funny, praising how it sidesteps sentimental traps. The cast, especially Shailene Woodley, is singled out for strong ensemble work that celebrates human imperfection. [Read](https://www.nytimes.com/2011/11/16/movies/descendants-with-george-clooney-review.html) - **Empire**, Dan Jolin (85/100, inferred): The critic finds The Descendants a complex and perceptive work that sits close to Payne’s best, with fewer big laughs than his prior films but rich in surprising humour and emotional truth. George Clooney delivers a strong, unglamorous performance supported by an excellent cast, particularly Shailene Woodley. [Read](https://www.empireonline.com/movies/reviews/descendants-review/) - **Los Angeles Times**, Betsy Sharkey (85/100, inferred): The review calls the film a winning and warm-hearted tragedy infused with comedy that navigates its themes with a tightrope balance. It singles out George Clooney’s terrific performance as the harried father for praise. [Read](https://www.latimes.com/entertainment/la-xpm-2011-nov-16-la-et-the-descendants-20111116-story.html) - **Little White Lies**, Adam Woodward (5/4/4): A confident return for Payne featuring a champagne turn from George Clooney. The film balances anticipation, enjoyment and retrospective appreciation highly. [Read](https://lwlies.com/reviews/the-descendants) - **Time Out**, Keith Uhlich (4/5): Clooney excels in this perceptive and moving dramedy about a Hawaiian family in mourning; Payne walks a fine line between caricature and compassion, though one monologue tips into burlesque. [Read](https://www.timeout.com/movies/the-descendants-1) - **Variety**, Peter Debruge (80/100, inferred): The critic praises how the film tackles prickly family issues with sensitivity while entertaining, calling it emotionally rich and satisfying on multiple levels. George Clooney’s layered performance as the father is highlighted. [Read](https://variety.com/2011/film/reviews/the-descendants-alexander-payne-1117945946/) - **The Telegraph**, Robbie Collin (75/100, inferred): George Clooney is Oscar-nominated but the younger cast members shine, with Shailene Woodley, Amara Miller and Nick Krause creating credible and touching responses to the mother's plight and a vintage Payne grotesque. The film feels lighter than Payne's earlier work but closes with a terrifically ambiguous scene. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/9042429/The-Descendants-review.html) - **Sight and Sound**, Philip Kemp (70/100, inferred): Payne delivers a characteristic mix of funny and painful in this follow-up to Sideways, with strong performances from the cast including Woodley, Bridges and Greer. The second half weakens slightly due to the co-writers' inexperience. [Read](http://old.bfi.org.uk/sightandsound/review/6771) - **The Guardian**, Peter Bradshaw (50/100, inferred): The film is sweet and sad but distinctly soft-centred, lenient and sentimental compared to Payne's earlier scabrous work. It offers an intelligent representation of Hawaii and some strong performances but ultimately swathes its themes in a romantic comfort blanket. [Read](https://www.theguardian.com/film/2012/jan/26/the-descendants-review) - **Collider**, Matt Goldberg (A-): The critic praises the film as a sweet, tender movie with honest humor and strong performances from Clooney and Woodley, avoiding sentimentality. They single out Clooney's nuanced performance and the film's thoughtful exploration of inheritance and forgiveness. [Read](https://collider.com/the-descendants-movie-review/) - **The Wrap** (85/100, inferred): The film is an uproarious comedy about grief and loss that finds hell in paradise, with Payne masterfully eliciting both laughs and tears. Clooney delivers an extraordinary performance as the hard-working, harried father juggling emotions while reconnecting with his daughters. [Read](https://www.thewrap.com/descendants-mid-life-crisis-hawaiian-style-32785/) - **Den of Geek**, Ryan Lambie (4/5): Praises the film's easy shift between sophisticated drama and comedy, along with its superb writing, beautiful cinematography, and sublime acting, especially the perfectly chosen cast including strong turns from the young actors and supporting players. [Read](https://www.denofgeek.com/movies/the-descendants-review/) - **Digital Spy**, Stella Papamichael (80/100, inferred): Highlights Clooney's masterclass performance as a father in emotional limbo and the film's engaging family portrait, noting how the Hawaiian setting heightens the surreal plight while providing fertile ground for laughs and strong supporting turns. [Read](https://www.digitalspy.com/movies/a360969/the-descendants-review/) - **The Playlist**, The Playlist Staff (75/100, inferred): The film is a somber adult drama elevated by strong performances, particularly George Clooney's soulful lead turn, though it has some familiar elements and an awkward voice-over. It is effective and moving on its own terms despite not breaking new ground for Payne. [Read](https://theplaylist.net/nyff-11-review-george-clooney-grapples-with-life-death-fatherhood-in-the-descendants-20111014/) - **NME**, Owen Nicholls (70/100, inferred): Notes that the Payne-Clooney pairing works well in this character-driven story of family and earned love, with strong performances across the board, though it lacks the assured pacing and mood of Sideways. [Read](https://www.nme.com/blogs/the-movies-blog/the-descendants-film-review-779732) - **Paste**, David Roark (4.9): The critic finds the film mediocre, criticizing Clooney's flat performance and emotional disconnection, with an aimless plot that fails to engage. They praise the poignant finale's message of forgiveness but note it is undermined by the cold tone. [Read](https://www.pastemagazine.com/movies/the-descendants) ## Details - **Director:** Alexander Payne - **Director:** Alexander Payne - **Screenplay:** Alexander Payne, Jim Rash, Nat Faxon - **Novel:** Kaui Hart Hemmings - **Cinematography:** Phedon Papamichael - **Editor:** Kevin Tent - **Music:** Jeff Peterson - **Production design:** Jane Ann Stewart - **Costume design:** Wendy Chuck - **Producer:** Jim Taylor, Jim Burke, Alexander Payne - **Cast:** George Clooney as Matt King; Shailene Woodley as Alexandra King; Amara Miller as Scottie King; Nick Krause as Sid; Patricia Hastie as Elizabeth King; Grace A. Cruz as Scottie's Teacher; Kim Gennaula as School Counselor; Karen Kuioka Hironaga as Barb Higgins - **Runtime:** 1h 55m - **Certificate (MPA):** R - **Release (the US):** 9 December 2011 - **Genres:** Comedy, Drama - **Budget:** $20 million - **Box office:** $177 million - **Trailer:** https://www.youtube.com/watch?v=XDwUH02DDWU ## Where to watch in the US - Amazon Prime Video: rent $3.99, hd - Apple TV: rent $4.99, hd - Amazon Prime Video: buy $4.99, hd - Apple TV: buy $4.99, hd *Checked 2026-09-17.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2012: Best Actor (nominated); Best Director (nominated); Best Film Editing (nominated); Best Picture (nominated); Best Writing, Adapted Screenplay (won) - Dallas-Fort Worth Film Critics Association Award for Best Film 2011: Dallas-Fort Worth Film Critics Association Award for Best Film (won) ## If you liked this - *Secrets & Lies* (1996), Fi1m 88: Family resentments emerge through awkward conversation, with room for humour and forgiveness. — [Fi1m page](https://film.one/film/secrets-and-lies.md) - *Still Walking* (2008): Another family gathering where grief makes everyday politeness unusually difficult to maintain. - *The Farewell* (2019), Fi1m 84: Relatives disagree over how to care for someone, and nobody escapes feeling foolish. — [Fi1m page](https://film.one/film/the-farewell.md) - *Wild Strawberries* (1957): An ageing man’s self-examination brings a sharper edge to family regret. - *The Savages* (2007): Two siblings discover that caring for a parent does not make them wiser. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-descendants