Jeff, Who Lives at Home


Jeff, Who Lives at Home

Jason Segel believes he's being stalked by Muppets.

(2012) Comedy (Paramount Vantage) Jason Segel, Ed Helms, Susan Sarandon, Judy Greer, Evan Ross, Rae Dawn Chong, Steve Zissis, Benjamin Brant Bickham, Lee Nguyen, Tim J. Smith, Ernest James, Katie Aselton, Joe Chrest, Lance E. Nichols, Carol Sutton. Directed by Jay and Mark Duplass

 

Families are complicated things that we rarely can make heads or tails of, even of our own. We mostly see the people in our families as filling certain roles and rarely can adjust our thinking beyond those definitions we ourselves set. A lot of times those definitions are there from years of observation and experience but every so often those in our family can surprise us.

Jeff (Segel) is a 30-year-old unemployed man who lives in his mom’s basement and apparently has little ambition beyond getting stoned every day. His mom (Sarandon) is exasperated beyond words; she longs for him to find some sort of path that he can follow through life but he doesn’t seemed interested in finding one.

The truth is that Jeff really wants to find that path but isn’t quite sure how. He has determined that life is a series of signs and portents that one must be open to receiving and able to interpret once received. Jeff thinks he is able to do this but thus far hasn’t found the right way yet. So when he gets an angry phone call from a man demanding to speak to Kevin (there is no Kevin in the household) that starts the ball rolling.

It’s also his mom’s birthday and she wants just one thing from him; to go down to the local Home Depot (a bus ride is required) and pick up some wood glue to fix a slat on the shutter doors of the kitchen pantry. While on the bus, he sees someone with the name Kevin on a basketball jersey and follows him, leading him off the path of the wood glue and onto the path of something else.

Pat (Helms) is the married, responsible one. Or at least he is on the surface. In reality his marriage to Linda (Greer) is falling apart at the seams; there is little if any communication going on between them. Judy wants them to save their money to buy a house so that they can raise a family; Pat wants to buy a Porsche so that they can…own a Porsche. Pat impulsively buys one, prompting Judy to dump her breakfast over the car.

The paths of Pat and Jeff cross, leading the Porsche to take a path into a nearby tree. Their paths then intersect with Linda, who apparently is meeting another man in a fancy Bistro that Pat has refused to take her to. Linda’s path then takes her to a hotel room with that man while Pat and Jeff take separate paths, all leading to the same place.

Jeff’s mom, Sharon, is also on a path, looking for the kind of fulfillment and appreciation that comes from a close relationship but she’s been unable to form one since her husband had passed away. She confides in Carol (Chong), a friend from work that she’s been receiving some secret admirer messages from someone at work, but doesn’t know who it is. She is troubled by the attention but also intrigued by it.

Where will this all end up? I can tell you a few things for certain without giving too much away – one, all of the main characters will end up in wet clothes. Two, all paths lead towards New Orleans over the Pontchartrain Bridge. Third, some things take more than wood glue to fix.

The Duplass brothers, who directed this, have a fair amount of indie cred with such films as Baghead and The Puffy Chair to their credit. Their movies tend to be low-key and charming with a certain amount of complexity under the surface that make them ideal for discussion for days after you’ve seen them. They also know how to coax subtle, nuanced performances from the actors in their films and they do the same here.

Segel is rapidly becoming one of the most likable performers in Hollywood. He is big and lovable to the point where his brother calls him a sasquatch, but also has plenty of goofy stoner in him. There are those who compare Segel (somewhat unfairly) to Seth Rogen who is a different kind of performer. Not that Rogen isn’t a nice guy, Segel just seems nicer (see The Muppets). Here he is just kind of treading water through life, allowing the current to take him wherever it will. That can be kind of irritating to those who prefer to swim their own course as most of us do but Jeff is anything but a control freak – he prefers to see what is going to happen rather than making things happen.

Helms is rapidly becoming a go-to guy in the comedy landscape with roles in “The Office” as well as The Hangover series, as well as Cedar Rapids. This is a bit of a departure for him – he is not the lovable nerd here but he is more of a hustler sort, the kind of role more familiar to guys like Vince Vaughn. If this were a different sort of movie, I might have even preferred Vaughn in the part but to be honest, as much of a con-man as Pat is the movie wouldn’t be able to accept someone as over-the-top as Vaughn. Helms gives it just the right amount of undertones.

Judy Greer has graduated from mainly playing the best friend of the rom-com lead to playing terrific wives criminally ignored by their husbands (as she does in The Descendants). She is one of those actresses who doesn’t get a lot of kudos but quietly performs strongly in every role she takes on. This is the kind of part that can be easily overlooked by a performer of her caliber makes that impossible to happen.

Because Jeff is so innately a good guy, the movie has a quiet sweetness to it that never gets too sentimental or too saccharine. However, the Duplass brothers seem bound and determined to brand this as an indie feature; they have a tendency to zoom the camera in nearly every scene as kind of a Duplass trademark. It gets irritating after awhile and seems to be a minor case of “Look, Ma, I’m Directing” syndrome.

This isn’t a movie that is going to overwhelm you or offer some life-shattering insight, although you may come to one eventually on our own. It isn’t going to be the kind of movie you leave with your sides aching with laughter, although you will at least chuckle at some of the situations. This is a movie about life and about the resilience of family to overcome even the greatest of gulfs. I like this movie and even if it doesn’t shout its name from the rooftops, well, a quality movie doesn’t have to.

REASONS TO GO: Sweet to its core but not so sweet your blood sugar spikes. Nice performances from the leads.

REASONS TO STAY: Camera moves draw attention to themselves. Occasionally suffers from over-quirkiness.

FAMILY VALUES: There is plenty of bad language including some with sexual connotations, and some depictions of drug use.

TRIVIAL PURSUIT: Nearly all of the movie was shot in New Orleans suburb Metairie, doubling for Baton Rouge.

CRITICAL MASS: As of 3/27/12: Rotten Tomatoes: 74% positive reviews. Metacritic: 60/100. The reviews are good though not great.

COMPARISON SHOPPING: Cyrus

STREET BALL LOVERS: Early on, Jeff participates in a pretty convincing game of street basketball, although Segel appears more adept at hoops than you think he might be.

FINAL RATING: 7/10

NEXT: Love Ranch

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Cyrus


Cyrus

Even Marisa Tomei finds the concept of falling for John C. Reilly amusing.

(Fox Searchlight) John C. Reilly, Marisa Tomei, Jonah Hill, Catherine Keener, Matt Walsh, Katie Aselton, Tim Guinee, Steve Zissis, Jamie Donnelly, Diane Mizota, Kathy Ann Wittes, Charlie Brewer. Directed by the Duplass Brothers

In a simpler age, it was said a boy’s best friend was his mother. These days, that statement has creepy connotations, which is no doubt what inspired the making of this movie.

John (Reilly) is not a very happy guy. It’s been seven years since his wife divorced him (not his idea, as he very firmly points out) and ever since, he’s been in a shell. He rarely goes out, has few friends and as for a romantic life? Obviously not. Mostly, his only social contact is his ex-wife for whom he still carries a torch. She walks in on him masturbating to tell him the news that she’s getting re-married, which gives you an idea of what kind of movie this is going to be.

She badgers him to go to a party she’s throwing and at first, John isn’t keen on going. She has invited a lot of beautiful single girls and insists he goes so he can get on with his life (and by inference get out of hers). Finally he gives in and shows up, and it’s clear that he has no game whatsoever. As the night goes on, he continues to drink vodka and Red Bulls, getting progressively more sloshed and makes horrible attempts at small talk with disinterested, even to the point where he opens up to a woman (Wittes) about how desperate and lonely he is, sending her fleeing as far away from him as she can get.

He is overheard by Molly (Tomei), who can relate being also desperate and lonely. The two meet each other while John is urinating in the bushes (oh, the romance!) and she deflects the awkwardness of the situation by saying the only thing a woman can say that won’t cause the man to wish he were a thousand miles away – “Nice penis.”

From such things great romances are born, and Molly and John spend the night together. Soon, they are seeing each other seriously despite John’s misgivings about his looks (“I’m, like, Shrek!”) but John is a little concerned that she always leaves his bed in the middle of the night. One night, he follows her and finds out where she lives. He discovers she has a grown son named Cyrus (Hill) who lives at home and is working on a New Age music career.

Cyrus is welcoming enough at first but it becomes clear that he has another agenda in mind. For one thing, Cyrus is extremely possessive of his mom and doesn’t want to compete for her affection. In fact, the two are so close it’s kind of creepy; apparently Cyrus was still being breastfed when he was about, I think, eight. Years, that is – not months.

The Duplass Brothers are noted as leading artists in the “mumblecore” filmmaking movement, which is more evident in their previous features Puffy Chair and Baghead. This movie isn’t mumblecore per se, but it has some of the elements of it – like the jerky camera movements and the sudden zoom ins and zoom outs that become really annoying after awhile. It’s all part of the “Look, Ma, I’m Directing” syndrome that often affects filmmakers who have been too much on the indie circuit.

This has romantic comedy elements too, and unfortunately they are the same ones that have made American romantic comedies mostly forgettable and lame. The movie’s ending is very predictable, to the point of making me want to pound my head against the wall.

What saves the movie is the premise and the execution, as well as the acting of the three leads. Reilly and Tomei are two very likable actors and even though they’re playing very flawed characters here, they make you root for them despite those flaws. Reilly is so rumpled and beaten down you wonder what a hottie like Tomei would see in him until you find out how beaten down she is. They’re kindred spirits, which makes the romance all the more acceptable.

Jonah Hill has played some oddball characters in his time, and this is one of the oddest. Cyrus is at once pathetic and shrewd, able to play his mother like a Stradivarius. In many ways their relationship symbolizes a lot of the problems with modern parenting, the permissiveness and clinginess that many parents feel towards their children. If that was the intent of the Duplass brothers, then a big ol’ Bravo to them.

The movie is definitely creepy in places and awkward in others. Watching it is not unlike walking in on a married couple having a big fight; the longer you stay, the more awkward it feels. In some ways, I like being thrown off-balance that way – it makes for a more memorable cinematic experience. However, those who feel uncomfortable at the expression of raw emotions should stand warned that they might find it too awkward.

REASONS TO GO: Some really funny moments. The three key leads all turn in solid work.

REASONS TO STAY: Self-consciously indie combined with rom-com clichés make it an uphill climb at times to like this movie. The forced focus and montage sequences became tiresome.

FAMILY VALUES: There’s a fair amount of bad language and a little bit of sexuality. Some of the situations are decidedly uncomfortable concerning the mother-son relationship.

TRIVIAL PURSUIT: Filmmakers Ridley and Tony Scott served as producers on the movie, through their production company Scott Free.

HOME OR THEATER: While worth seeing in the theater, this certainly will work at home if you’d so prefer.

FINAL RATING: 7/10

TOMORROW: G-Force