At the start of this film, George Clooney's character attempts to burst the bubble regarding everyone's dreamy perception of the fiftieth US state – Hawaii. He does a pretty good job of it too, until the film manages to reinforce the image of an exotic locale with shots of beautiful vistas and gorgeous beaches.

But despite (eventually) making Hawaii an attractive destination, this film is more than a free ad for the Hawaiian Tourist Board. It's a touching film, based on Kaui Hart Hemmings' novel, about loss, coming to terms with loss and coping with the ripples it causes.

On the surface at least, it looks like Matt King (Clooney) has it all: he has a beautiful wife, two daughters, and a pretty good job as a lawyer. And there's the small matter of Matt being the sole trustee for his family of a trust that controls 25,000 acres of unspoilt real estate on the island of Kaua'i. It is worth a pretty penny, and he and his family are in the process of selling it.

Then his wife is involved in a horrific boating accident that causes her to fall into a coma. Suddenly Matt finds himself put into the role of the dominant parent, when his 10 year old Scottie (Amara Miller) starts playing up at school.

He quickly comes to the conclusion that he can't cope, so he goes off to another island to pick up his eldest Alexandra (Shailene Woodley) from her expensive private school, to help him out with her sister. It's not long however, before he realises that Alexandra is going through her own pain, and isn't much help.

Matt is freefalling emotionally, trying his best to hold it together. But it gets worse. The doctor informs him that his wife won't recover from the accident, and that he should start making plans for his family and friends to say goodbye.

Just when you think that things can't get any worse, they do, when Alexandra drops her own bombshell. She finally reveals why she had a falling out with her mum that Christmas, and it's the kind of news that a man who is already kicked down doesn't need to hear.

There goes Brad and Anj in their private jet, off to buy another kid. Hope they bring me back a nice souvenir this time.

It's difficult not to admire an actor like Clooney. He could easily make a career of playing it safe, like so many of his peers, by starring in your average rom-com or drama. But Clooney has a taste for quirky projects, as well as great instinct for interesting roles. Once again he gives a sublime performance, one where he imbues his character with a tightrope of emotions, precariously bending emotionally back and forth in his attempt to deal with his family during difficult times. He certainly deserved the recent Oscar nod for this bittersweet role with his Best Actor nomination.

Clooney could have also easily acted as a sponge and soaked up every frame of limelight, but instead, he shares it generously with a fairly young and inexperienced cast. Young Miller in particular is one of those few child actors who knows the subtle difference between acting and over-acting.

Director Alexander Payne (Sideways) proves that he has a certain knack with these quirkier projects. He manages to create natural performances without them ever feeling dull. He also injects a fair amount of light relief into proceedings, where you wouldn't necessarily expect. Even his use of traditional Hawaiian music, although an obvious choice, just fits beautifully.

This kind of film could easily have gone down the overly dramatic route, giving it the kind of emotive high gloss of something like Love Story. Instead, it keeps its feet firmly rooted to the ground thanks to earthy performances from its ensemble cast.

The Descendants elegantly captures a dysfunctional family trying desperately to hold it together, despite unravelling fast at the seams. And although it has a gentle pace – it is set in Hawaii after all – it shouldn't put you off, as it has a very big heart.