Before you knew anything about "The Descendants," you might have thought it's the next installment in the M. Night Shyamalan series of paramountly bizarre thrillers (i.e. "The Happening," "The Village"). In truth, it's the furthest thing from it. Director Alexander Payne takes a quiet look at the relentlessly human story of the King family as they deal with parenting, family property, and most poignantly, the right to die. 

George Clooney is tender and nuanced in his turn as Matt King, a descendant of one of Hawaii's first white land-owning families. As if dealing with the fate of 25,000 acres of pristine Hawaiian land weren't enough—most of the extended King clan is eager to sell the land to developers—a boating accident leaves Matt's wife in a coma he knows she won't come out of.

Payne is something of a specialist when it comes to films that deal with grown men and their newfound emotional complexities. He scored rave reviews for his simultaneously sardonic and sentimental direction in "Sideways" and "About Schmidt," and "The Descendants" follows suit.

So, naturally, Matt faces one more monumental conflict. His teenaged daughter, Alex—played by Shailene Woodley, whose previous claim to little notoriety was the starring role on ABC Family's god-awful "The Secret Life of the American Teenager"—lets him know that his comatose wife had been having an affair.

Cut to Clooney, more cumbersome than ever before, sprinting through the neighborhood in flip flops and a Tommy Bahama's shirt. By far the most memorable scene in the film, it doesn't have women tugging at their blouses as Clooney so often compels. Instead, it's resonant because it's the moment when audiences realize that while they may not have dealt with precisely the same issues as these characters are facing, the feeling that you want to escape your obstacles but don't know where to run is all too familiar. 

Clooney and Payne are a phenomenal pair; they make telling this delicate tale look seamless. It's impossible not to commiserate with the Kings, which is also due in part to mature performances from big screen rookies Woodley and Amara Miller, who plays Matt's precocious and spunky 10-year-old daughter, Scottie. 

Woodley's performance is particularly jaw-dropping; it's impressive not only by ABC Family standards, but by any standards at all. Beau Bridges, Robert Forster, and Judy Greer round out the ensemble, each treading the murky waters of dramedy with finesse. The vast, breathtaking shots of the Hawaiian landscape don't hurt either. 

"The Descendants" is an immensely rich film that leaves room to relate from almost every angle. The first time you watch it, you might be more engaged by the role of the "back-up parent" and forgiveness; next time it might be the more subtle themes of race and class. Payne tactfully lets issues unfold in such an organic way that it's almost impossible not to bring your own life experience to the table as a viewer. 

As far as Oscar contention goes, "The Descendants" probably won't be taking home the statue. It fills a particular category of nominees from the Academy, the heartfelt and deeply human stories of family trials. Such films include "The Kids Are Alright" and "Little Miss Sunshine." These are the flicks that we know won't reign victorious, but you can't help but mutter to yourself as they run through the list, "God, now that was a good movie."  

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