(2011) Comedy (Weinstein) Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Rashida Jones, Hugh Dancy, Kathryn Hahn, Shirley Knight, Janet Montgomery, Steve Coogan, Bob Stephenson, Peter Hermann, Adam Scott, T.J. Miller, Lydia Haug. Directed by Jesse Peretz
We all are suspicious of things that are too good to be true, whether they be products or people. When people come along who seem to be too nice by half, we wonder if they are manipulating us – or are just plain idiots.
Ned Rochlin (Rudd) is an amiable biodynamic farmer selling his organic wares at a local market when he is approached by a uniformed police officer (Stephenson) who wants to buy some weed. The good-natured Ned, not understanding what was happening, sells it to him and is promptly arrested and sent to jail (although he gets out early for good behavior).
When he does get released, things have changed. His bitchy ex-girlfriend Janet (Hahn) kicks him out, having taken up with Billy (Miller) and refusing to let him claim his dog Willie Nelson. Ned is forced to move back in with his mom (Knight) who’s a bit of an alcoholic and whose style doesn’t exactly conform to Ned’s.
Ned’s three sisters aren’t exactly chomping at the bit to spend time with him. Miranda (Banks) is a self-absorbed career woman trying to make it as a reporter at Vanity Fair and is willing to do whatever it takes to get there. She isn’t seeing anyone, although Jeremy (Scott), a neighbor, would certainly like to have some of her undivided attention.
Then there’s Natalie (Deschanel), a barista and aspiring stand-up comic who lives with Cindy (Jones), a lawyer. Natalie is oversexed and has a one-night stand in a taxicab that ends up with her getting pregnant, which she doesn’t want to tell Cindy about. Finally, Liz (Mortimer) lives in a sexless marriage with Dylan (Coogan), a documentary filmmaker who also regards Ned as something of a moron.
Ned goes to stay with each sister in turn, finding out some dirt on each of them and letting it slip out at inopportune moments. He is good-natured and sweet but he doesn’t know when to keep things to himself. He is utterly honest and guileless and can’t conceive of a world that isn’t, so he wreaks havoc in each of his sisters lives like a hippie tornado.
There is a lot of charm to Our Idiot Brother and it largely comes from Rudd. He is genial, even if he is wearing one of the worst cinematic beards ever. He is so sweet and lovable you can’t help him even if he is dumb as a rock. He’s like that big lovable goofy dog we’ve all had; you kind of love him because he’s a numbskull.
The ladies are all veterans of the indie movie scene and they don’t quite fare as well, sadly. Deschanel is one of the most talented actresses around (not to mention one of the most beautiful) but she is given little to work with other than a libido. Mortimer is forced to drop her robe in front of a disinterested Coogan and mostly look constipated. Banks comes off as an evil love child between Miranda Priestly (Meryl Streep’s satanic editor from The Devil Wears Prada) and J. Pierrepont Finch (the ambitious office nebbish in How to Succeed in Business Without Really Trying).
All three are mostly given character flaws along with an abiding feeling of superiority over their brother, who they all look upon as a complete moron. Of course, all are redeemed by their brother’s honesty and kindness – I’m not giving away anything you couldn’t figure out before walking into the theater. Sadly, they aren’t memorable characters and their conversion comes without any effort or sacrifice. You never get the sense that they suffered in order to come out the other side smelling like a rose.
There are some very funny moments (a party scene where naive Ned falls into a threesome for example) but not enough to sustain the movie which seems to meander aimlessly from scene to scene. There doesn’t seem to be much point here other than to make a sweet, charming comedy which is quite all right by me, but at times this seems more of a collection of scenes than anything else and that’s a bit disconcerting.
It’s worth seeing for Rudd alone – he can be as charming as they come. This isn’t the vehicle that is going to lift him into another strata of stardom however; that will have to come another day.
REASONS TO GO: Rudd is terribly likable and charming. The cast is exceptionally talented.
REASONS TO STAY: There’s little inertia and the movie runs on too long. There are not enough funny moments to sustain it.
FAMILY VALUES: There’s some nudity and sexual content, as well as a few F bombs and other crude words.
TRIVIAL PURSUIT: The movie came together unusually quickly, taking about four months from the time producer Peter Saraf read the script to the day shooting wrapped.
HOME OR THEATER: It won’t be around in theaters much longer given the box office numbers, but that’s okay – this will work perfectly well on the home screen.
FINAL RATING: 6/10
TOMORROW: The Debt