The man-child: a staple character for modern comedy and notoriously known for being played one-note. They get the laugh they get out.
But turning the lovable goofball or zoned-out knucklehead into something more is no easy task—which makes Paul Rudd's work in Our Idiot Brother that much more impressive. Rudd's Earth-friendly farmer Ned (the closest thing to a new Lebowski we've seen since the original) finds himself down on his luck after being entrapped by a police officer looking for pot. After a stint in jail he abandons his rural hippie commune for the big city to take shelter with his three sisters. Unfortunately for Ned his three siblings Liz (Emily Mortimer) Miranda (Elizabeth Banks) and Natalie (Zooey Deschanel) are as equally displaced and confused from the ebb and flow of life—albeit with severely different perspectives of the world.
Liz struggles to put her kid in private school and keep her marriage to documentary filmmaker/scumbag Dylan (Steve Coogan) intact. Miranda claws her way to the top of Vanity Fair's editorial staff and shuns her flirtatious neighbor (Adam Scott). Natalie stresses over her commitment issues with girlfriend Cindy (Rashida Jones) leaving little time or patience for Ned's bumbling antics. Sound like a lot of plot? While the manic lives of Ned's sisters click symbolically with his journey to get back on his feet it makes for one sporadic narrative.
Like a series of vignettes Our Idiot Brother never gels but when director Jesse Peretz finds a moment of unadulterated Nedisms to throw up on screen the movie hits big. Whether it's Ned teaching his nephew how to fight accidentally romancing his sister's interview subject or infiltrating his ex-girlfriend's house to steal his dog Willie Nelson the movie relies heavily on Ned's antics and its smart to do so. But thin throughlines for its supporting don't hold a candle to Rudd doing his thing.
And its a testament to Rudd's versatility—the man has done everything from Shakespeare and raunchy Judd Apatow comedies after all—that makes the movie watchable. Rudd gives dimensionality to his nincompoop character allowing darker emotions to creep in when necessary. There's a point in the film when Ned gives up fighting for his type-A sisters' affection and it's some of the best material Rudd's ever delivered. But like one of Ned's lit joints Our Idiot Brother can quickly fizzle out leading to plodding plot twists and sentimental conclusions. Mortimer Banks and Deschanel are great actresses—here they drift through their scenes and come out in the end changed. Because they have to.
Our Idiot Brother tries to take the Apatow model to the indie scene and comes through with so-so results. Only Rudd's able to find something to latch on to to build upon to warm up to. In an unexpected twist it's the man-child who seems the most grown up.
WHAT IT'S ABOUT?
Essentially about the offbeat relationship between two very distinct people with anything but normal families Gigantic centers around the search for meaning by Brian Weathersby a 29-year-old high-end mattress salesman who is looking for something to anchor his life to. He becomes determined to adopt a baby from China but soon gets involved in an unexpected and wholly different kind of romance when the quirky and pretty Harriet aka Happy wanders into his showroom and falls asleep on one of the beds. Along the way he must deal not only with her loudmouth father Al but also his own dippy parents and two older more successful brothers.
WHO'S IN IT?
When describing the charms of Gigantic all roads lead to Paul Dano who underplays Brian in a wonderfully droll deadpan-style reminiscent of the great Peter Sellers in Being There. Dano who has done this low-key kind of act before in Little Miss Sunshine is truly winning without expressing visible emotion and letting others play off his blank canvas. As Harriet Zooey Deschanel also takes what could be a one-note character and invests her with complexity and quirky humanity. You can't take your eyes off of her when she's on-screen. Veteran actors Edward Asner and John Goodman play the pair's fathers and both adapt their oversized personas beautifully to the precise rhythms established by the stars. Goodman gets great mileage out of his character's bad back problems and is better than he's been on screen in years. Jane Alexander as Brian's mother also has a couple of wonderful moments. Hot comedian Zach Galifianakis takes on the film's oddest role as a mysterious homeless man who keeps showing up to attack Brian.
Co-writer and first-time feature film director Matt Aselton takes a cue from directors like Hal Ashby (Harold and Maude Being There) and Spanish surrealist Luis Bunuel in creating a tone and distinct minimalist sandbox for his actors to play in and it works beautifully for those in the audience who don't need every little detail explained. By dialing it way down he gets an aura of originality not attempted in many comedies these days.
By crossing the line between fantasy and reality and intentionally blurring his main character's emotional well-being a unique device is used throughout that will require patience and suspension of belief before its ultimate payoff toward the end. The less adventurous viewers may not want to make the investment.
A restaurant double-date between Dano Deschanel plus Goodman and his date is brilliantly written and acted as Brian is grilled in vivid detail by Harriet's take-no-prisoners dad.
BEST GREETING BY A STONER:
A slacker friend who has probably already smoked his lifetime supply of weed asks and answers his own question with every hello: "Hey dude What's up? Not much."
NETFLIX OR MULTIPLEX?
If you can find this indie gem in theaters go! But it should be hitting the video shelves before you can say "Hey dude. What's up? Not much."