Rated R for sexual content including nudity, and for language throughout
Cast: Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Steve Coogan, Hugh Dancy
Director: Jesse Peretz
"Our Idiot Brother" exudes a charm so palatable that we're almost tempted to forgive the fact that the movie isn't really about anything. Almost, but not quite.
There's a lot of promise at the starting gate. We're introduced to Ned (Paul Rudd) as he works a table at a market. He's dressed presentably, though does sport unkempt hair and a straggly beard pleading for removal. An oblivious, stress-free smile adorns his face. Uh, yeah... this guy's definitely into pot. He's too fun-loving. A uniformed police officer (Bob Stephenson) senses the same thing. He approaches, furtively inquires about some weed. Ned initially refuses, but the officer launches into a piteous spillage of how hard a week he's had. Ned listens, sympathizes. Then hands over a joint along with sincere well-wishes. "You're under arrest," the officer says through his exaggerated simper. "Seriously." Ned is discomfited by the arrest, but not hostile. Notice the way he says "aww, shit." Not like someone headed to jail, but like he was just punk'd by Ashton Kutcher.
Cynicism is not a part of Ned's lexicon. Sure, he can get flustered, frustrated, even angry... but will always operate from a derivation of innocence. It's that kind of approach that gives the film its charm. One could even argue that the only difference between someone like Ned and Forrest Gump is the presence of narcotics in one person's system. (Unless, of course, we really didn't know what we were getting from that box of chocolates.)
If screenwriters Evgenia Peretz and David Schisgall, along with director Jesse Peretz had concocted a better way to build a plot around their central character, the movie could have elevated itself to something special. (If the name Peretz sounds familiar, it's probably because the co-writer and director are offspring of Marty Peretz, part-owner and editor emeritus of the New Republic magazine.)
The film is essentially an examination (though not a very deep one) between the carefree lifestyle of Ned and the complicated lives of his three sisters. There's Liz (Emily Mortimer), who senses a growing emotional distance between her and her priggish husband (Steve Coogan). Nat (Zooey Deschanel), a feisty bisexual artist increasingly nonplussed regarding her feelings for her current lover (Rashida Jones). And Miranda (Elizabeth Banks), a dedicated career woman too caught up in the corporate ladder to address her romantic feelings toward her neighbor (Adam Scott).
Following Ned's breakup with his flower child girlfriend (Kathryn Hahn)--replete with a custody battle over their dog (affectionately named Willie Nelson)--he is forced to live with each one of his sisters, and inadvertently messes up their lives merely by being his innocent self. Comparisons are drawn between idiocy and normalcy. Yes, Ned may be an moron, but it's only because he's so eager to please. And he does, after all, shed light on things kept in the shadows by his siblings and their more conventional approach to relationship issues. This isn't really uncharted narrative territory. It's all pretty underdeveloped, and offers little real insight.
The movie is at its best when it simply observes Ned's intellectually-siphoned actions. I liked the verbal sparring matches between him and his bohemian girlfriend; they get quite heated, but never sink into vulgarity for fear of traumatizing poor little Willie Nelson. (They contain lines like "You know what? You know what? You know what? Wow!") And there's a funny scene on a subway where Ned counts his wads of cash in plain view of all manner of potentially unscrupulous personalities. They all glance at each other, but no one pounces. They're probably thinking any moment ABC News correspondent John Quinones will round the corner accompanied by a camera crew, asking "what would you do?"
It's a tough call here. I smiled a lot and was amused during stretches. But the movie never develops into anything more than the sporadic bits of humor brought forth by the actors. The essence of the film resembles the personality of its main character... a lot of charm but little direction.
* * 1/2 out of * * * * stars
There's a lot of promise at the starting gate. We're introduced to Ned (Paul Rudd) as he works a table at a market. He's dressed presentably, though does sport unkempt hair and a straggly beard pleading for removal. An oblivious, stress-free smile adorns his face. Uh, yeah... this guy's definitely into pot. He's too fun-loving. A uniformed police officer (Bob Stephenson) senses the same thing. He approaches, furtively inquires about some weed. Ned initially refuses, but the officer launches into a piteous spillage of how hard a week he's had. Ned listens, sympathizes. Then hands over a joint along with sincere well-wishes. "You're under arrest," the officer says through his exaggerated simper. "Seriously." Ned is discomfited by the arrest, but not hostile. Notice the way he says "aww, shit." Not like someone headed to jail, but like he was just punk'd by Ashton Kutcher.
Cynicism is not a part of Ned's lexicon. Sure, he can get flustered, frustrated, even angry... but will always operate from a derivation of innocence. It's that kind of approach that gives the film its charm. One could even argue that the only difference between someone like Ned and Forrest Gump is the presence of narcotics in one person's system. (Unless, of course, we really didn't know what we were getting from that box of chocolates.)
If screenwriters Evgenia Peretz and David Schisgall, along with director Jesse Peretz had concocted a better way to build a plot around their central character, the movie could have elevated itself to something special. (If the name Peretz sounds familiar, it's probably because the co-writer and director are offspring of Marty Peretz, part-owner and editor emeritus of the New Republic magazine.)
The film is essentially an examination (though not a very deep one) between the carefree lifestyle of Ned and the complicated lives of his three sisters. There's Liz (Emily Mortimer), who senses a growing emotional distance between her and her priggish husband (Steve Coogan). Nat (Zooey Deschanel), a feisty bisexual artist increasingly nonplussed regarding her feelings for her current lover (Rashida Jones). And Miranda (Elizabeth Banks), a dedicated career woman too caught up in the corporate ladder to address her romantic feelings toward her neighbor (Adam Scott).
Following Ned's breakup with his flower child girlfriend (Kathryn Hahn)--replete with a custody battle over their dog (affectionately named Willie Nelson)--he is forced to live with each one of his sisters, and inadvertently messes up their lives merely by being his innocent self. Comparisons are drawn between idiocy and normalcy. Yes, Ned may be an moron, but it's only because he's so eager to please. And he does, after all, shed light on things kept in the shadows by his siblings and their more conventional approach to relationship issues. This isn't really uncharted narrative territory. It's all pretty underdeveloped, and offers little real insight.
The movie is at its best when it simply observes Ned's intellectually-siphoned actions. I liked the verbal sparring matches between him and his bohemian girlfriend; they get quite heated, but never sink into vulgarity for fear of traumatizing poor little Willie Nelson. (They contain lines like "You know what? You know what? You know what? Wow!") And there's a funny scene on a subway where Ned counts his wads of cash in plain view of all manner of potentially unscrupulous personalities. They all glance at each other, but no one pounces. They're probably thinking any moment ABC News correspondent John Quinones will round the corner accompanied by a camera crew, asking "what would you do?"
It's a tough call here. I smiled a lot and was amused during stretches. But the movie never develops into anything more than the sporadic bits of humor brought forth by the actors. The essence of the film resembles the personality of its main character... a lot of charm but little direction.
* * 1/2 out of * * * * stars
