Silly flicks occupy a somewhat unusual place in the cinematic landscape. Nonsensical comedies are frequently derided by the critics and publically denounced by movie goers but the studios continue to make these lighthearted movies. There is one exceptionally easy to understand reason for the perpetuation of this specific genre, profits. Movies of this sort are relatively inexpensive to fund and quick to produce. They also have a tendency to turn a quick profit. Even if word of mouth and negative reviews sour the box office traffic the opening weekend can be strong enough to carry the movie close to the plus column. The remainder of the theatrical run, overseas tickets and the all important DVD, Blu-ray releases and cable rights inevitably pushes the bottom line solidity into the black. The case in point here, ‘Our Idiot Brother’ is a prime example of this phenomenon. It cost an estimated $5 million to bring this movie to the Cineplex where it brought in over $7 million in just its initial weekend. In other words in the space of three days the studio has already turned a profit. It would go on to brining in five times its budget, not a bad investment by any standard. Now that is the business side of the equation. This net gain is still contingent on audience members willing to open their wallets to fill the seats. In times of economic distress juvenile movies have the ability to provide some much needed comic relief from the harsh reality of life. There is historical precedence to support this hypothesis. Back in the days of the Great depression the foolish antics of comedians like Buster Keaton and Charlie Chaplin gave a despondent population a touch of laughter. This statement is not to imply that ‘Our Idiot Brother’ is in the same league as films crafted by the aforementioned geniuses, it is just to note that in times of trouble people can always use a laugh, a good old fashion childish laugh. When the adult side of your personality as difficulty paying the bills his inner child needs to come out and play a bit.

There is an old saying that God looks out for fools. This axiom appears to have proof in the life of one Ned Radcliffe (Paul Rudd). He is a man of, shall we say, simple means, not really dumb just incredibly naïve. In a family of achievers Ned is a drifter. While not turned off by work he is rather easily satisfied which resulted in a limited expression of personal ambition. No matter what life deals out Ned is able to remain as happy as a child in a toy store. Ned earns a living as a holistic organic farmer producing a modest crop that he sells at a local Framer’s market. One day he is approached by a police officer looking for some Pot. Ned is reluctant but is sympatric to the man’s woeful story of needing the weed to help combat a stressful week. The man then manages to get Ned to accept a little money for his trouble but as it turns out this constitutes a drug sale and Ned finds himself under arrest. What followed are conviction, incarceration and finally release. This leads us to the circumstances that provide the basis for the main story; Ned moves in with hid three sisters; Miranda (Elizabeth Banks), Natalie (Zooey Deschanel) and Liz (Emily Mortimer), the eldest sibling. All three of them have their lives in order and careers well on their way. Liz is married to a documentarian Dylan (Steve Coogan), Natalie is an urbane bisexual in a stable relationship with Cindy (Rashida Jones) and Miranda is a writer working for Vanity Faire on the verge of getting her first article published. Each of them do have a cloud or two on their horizon the most serious of which Dylan’s sexual disinterest in Liz which is tearing their marriage apart.

The film was conceived and executed by sibling team Jessie and Evgenia Peretz with her co-authoring the script and him serving as director. One thing that this movie shares in common with the Depression era classic is the utilization of the cast. Many times it takes dedicated professionals to pull off a puerile comedy. The screenplay is minimalistic and the direction straight forward; providing a sturdy foundation but the humor that is constructed on it is the result of a season cast that knows exactly how to give the audience something worth watching. Rudd is part of a new clique of comedic actors encompassing such talented performers as Jason Segel, Zach Galifianakis and Michael Cera. Actors like these take their zany brand of comedy very seriously resulting in a very happy fan base. Rudd as a comedian is exceptionally capable of knowing just hoe ‘hippie dippy’ to take his character. A lesser talent might have had the tendency to overplay Ned or take the safe road undercutting the potential of the character. Ned comes off as the easy going stoner we all know and is so likable that you want to see him get out of the mischief that always seems to surround him. Another factor working for the movie is the rest of the cast. Rudd is not left stranded carrying the brunt of the film. Funny ladies that comprise the put upon sisters are excellent. Mortimer has extensive work in both drama and comedy which allows her to give a perfectly balanced presentation. Banks and Deschanel effortlessly blend beauty with the ability to let go permitting the comedy inherent in the situation to carry the performances. This is an off little flick that is certain to provide a good deal of humor. If you are need of a good laugh give this film a try, you’ll not be disappointed.

Feature Commentary with Director Jesse Peretz
Deleted and Extended Scenes
Making Of Our Idiot Brother