Dispatched from his basement room on an errand for his widowed mother, slacker Jeff might discover his destiny (finally) when he spends the day with his unhappily married brother as he tracks his possibly adulterous wife.
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Friendless Peter Klaven goes on a series of man-dates to find a Best Man for his wedding. But, when his insta-bond with his new B.F.F. puts a strain on his relationship with his fiancée, can the trio learn to live happily ever after?
Pete and Debbie are both about to turn 40, their kids hate each other, both of their businesses are failing, they're on the verge of losing their house, and their relationship is threatening to fall apart.
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Tim Lippe has no idea what he's in for when he's sent to Cedar Rapids, Iowa to represent his company at an annual insurance convention, where he soon finds himself under the "guidance" of three convention veterans.
Jeff, at 30, lives in his mom's basement, unemployed, looking for signs about what to do with his life. He answers a wrong-number call for "Kevin". Later, on a bus, he sees someone wearing a jersey with "Kevin" on the back. Jeff follows him. Meanwhile, Jeff's brother, Pat, a tone-deaf salesman, upsets his wife by buying a Porsche they cannot afford; Pat runs into Jeff soon after and they see Pat's wife with another man. At her job, Jeff and Pat's mom receives e-mails from a secret admirer; she tries to figure out who it is. Misunderstandings, errors, and confrontations abound. A backup on the Lake Pontchartrain Causeway brings things to a head. Written by
I pretty much knew I was going to dig JEFF WHO LIVES AT HOME right from the first scene, where Jeff sits on the toilet, and waxes poetically into a tape-recorder about his undying love for the movie SIGNS. I tend to like the Duplass Brothers, who wrote and directed, so I guess this wasn't a hard sell.
At first glance, JEFF WHO LIVES AT HOME seems like a bit of a minor film, with it running a scant eighty-minutes, and taking course over a single day. Heck, for ninety-percent of the movie it was a minor work, and while I liked it, it still felt like a bit of a disappointment on the heels of CYRUS, which was one of my favorite films from last year. The film works mostly due to Jason Segel, who's affecting as the eternally optimistic Jeff. In another actor's hands, Jeff could have been insufferable- but Segel brings a sweetness to the part that meshes well with the Duplass Brother's big-hearted, humanist philosophy.
Like CYRUS, this owes a lot to the Duplass Bros., mumblecore origins, with it seemingly shot on lower-grade digital, possibly hand-held cameras, just like CYRUS. Some of the dialogue also seems to be improvised, with the exchanges between Segel and Ed Helms (who seems to be playing Andy Bernard with a goatee here- no complaints) having a natural, unscripted feel. The film also has a very nice score by Michael Andrews, heavily reminiscent of his excellent soundtrack for Miranda July's ME AND YOU AND EVERYONE WE KNOW (the release of which remains the last time I bought a physical CD).
In terms of laughs, yeah- JEFF WHO LIVES AT HOME is funny, but in a genteel sort of way. You'll never double over in laughter, but the whole thing feels pleasant, and at eighty minutes, goes down pretty smooth. Now, I said that for ninety-percent of the running time, this felt minor. The last twenty minutes or so throw the audience a bit of a curve-ball, with Jeff's idea of destiny having a surprisingly dramatic payoff, that pushed the film into territory I wasn't expecting. However, this switch isn't jarring, and works to the film's advantage, give it a uniqueness I wasn't anticipating.
There's also an interesting subplot involving Jeff and Pat's mom, played by Susan Sarandon, as she interacts with an office co-worker (Rae Dawn Chong of COMMANDO!!!), and deals with a secret admirer, which pays off in a fun, heart-warming way that, again, makes the film a little different- but in a good way.
All told, JEFF WHO LIVES AT HOME isn't quite as good as CYRUS, but it's a unique, pleasant comedy that once again proves that the Duplass Brothers., might be on to something with the way their films seem to simultaneously aim at the heart AND the funny bone.
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