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Slacker, pothead, and deep thinker Jeff (Jason Segel) is a 30 something man living with his mom (Susan Sarandon). On one particular day, the same as any other, Jeff gets the idea that perhaps he should start looking for signs and directions from the universe to find his purpose and direction. Out performing an ordinary errand for his mom Jeff starts following what he believes are the very signs he’s looking for. One thing leads to another and before long Jeff runs into his brother Pat (Ed Helms). Pat happens to be in a bit of a relationship crisis, his wife Linda (Judy Greer) is about to begin an extramarital affair. As Pat begins to panic, Jeff maintains his cool and continues to follow his signs, meanwhile their mother begins her search for someone who understands her needs as well. But what does it all mean, is there meaning, is there fate, and will our hero’s find happiness or purpose? Written and directed by Mark and Jay Duplass the film fits nicely as the next step in the brother’s stylistic development. Shot a little more conventional than their previous works (Cyrus, Baghead) there’s still plenty of documentary style hand held roughness, but it’s clear shot composition and plotting is something the two have put more thought into this go around; whereas before their style was a bit more freewheeling. And, known for letting their actors interpret and improv scenes, this film feels similar giving what feels to be a very natural and honest result. Still, we’re not talking about a rip roaring improv comedy; but instead what feels closer to real people in odd situations, some of which are funny and some of which are quite difficult, all the while we get to be voyeurs of the absurdity of it all. Entertaining in its simplicity and not so obvious complexity, you’re looking at a shorter matinee here or perhaps a good rental. Jeff, Who Lives at Home is rated R.

Also, while we’re on the subject, check out this awesome youtube clip from the press junket for Jeff, Who Lives at Home!!! I love the enthusiasm!

Drifting from one job to the next Nick Flynn (Paul Dano) is a man abandoned by his father as boy now searching for a sense of purpose harbored with an underlying sense of self loathing. Ultimately on his way to rock bottom he finds work with a Boston homeless shelter. While working at the shelter he’s exposed to life at its grittiest moments all the while collecting material for poetry, stories, his art, writing. He even manages to find love with, Denise (Olivia Thirlby), a tough and confident young woman also working at the shelter; but, despite all efforts to keep his head up, his descent to what appears to be the inevitable is accelerated when his own father, Jonathan Flynn (Robert De Niro), appears as a guest at the homeless shelter. Now face to face with the man who made him, Nick can’t help but question if he’ll end up like his father—a seemingly indestructible cockroach of a con man yet also a self-proclaimed master poet and author? But how far did the apple really fall from the tree, and will he have the strength to pull himself out of his tailspin before it’s too late? Adapted for screen and Directed by Paul Weitz the film serves as a semi autobiographical look into the life of author Nick Flynn. Recently I had the chance to sit and talk shop with Weitz about where the screenplay came from here’s what he had to say.
Being Flynn Paul Weitz
Of course the trick with adaptations is that the author writing the adaptation has the potential to alter or change how a story will actually be portrayed. In this case, Weitz explains there are a number of points from the source material that were particularly resonant to him but not necessarily where Flynn had elaborated. The end result, a marriage of the two author’s complexities and struggles.
Being Flynn Paul Weitz 2
And, for the most part the amalgamation of ideas seems to work well, sometimes giving lurid detail into the psyches of both authors, perhaps a form of therapy or declaration of their own self doubts founded or unfounded.
In the acting department all parties give strong performances including Julianne Moore as Nick’s mother. But it truly feels as though the more interesting and compelling story to watch is De Niro and his character. Truthfully I would have liked to know more about his sordid past and what makes him tick; alas that perhaps would have been a longer and more expensive film, but maybe the adage of “keep them wanting more” applies here…or not. Still, back to De Niro, the man’s a force of nature, describing his process Weitz shed a little light on how De Niro works.
Being Flynn Paul Weitz 3
The film carries grit and truth about the homeless world and digs into some interesting psychological rabbit holes, although sometimes not deep enough. And, while I’m not entirely sure who the audience for this film will be on a national level, the cinephile caliber of Seattle will certainly appreciate a number of elements. Perhaps a matinee or rental. Being Flynn is rated R.

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Will Ferrell takes on the concept of the telenovela in this satirical look at Spanish/Mexican cinema. Armando (Ferrell) is a rancher who hasn’t quite found his raison d’etre, still living under his father’s roof he’s the laughing stock of the family. When brother Raul (Diego Luna) comes home with his stunning bride to be, Sonia(Genesis Rodriguez), Armando can’t help but feel his own shame. But as the evil Onza (Gael Garcia Bernal) moves in to mark his territory as a drug lord a weakness within Raul becomes apparent. Now it’s up Armando to save the family name, win the heart of Sonia, and find his strength from the mythical white mountain lion. With plenty of nods to the schtick and schlock of the genre Ferrell is right at home and up to his usual bag of tricks, only this time completely in Spanish and with subtitles. The laughs are hit and miss. And, I have to admit I have concerns as to what the audience for this will be as its appeal seems a bit limited. Also, when it’s a safe bet to figure the most expensive prop or set piece is an animatronic lion from Henson Studio’s, that’s kind of saying something of the film overall. But then again, nobody ever accused a telenovela of being overproduced or big budget and that’s kind of the point. Overall, it’s brief, could have been even just a smidge shorter, and if you’re a fan of Ferrell you’ll probably find enough to keep you all the way through the credits. Truly though my gut says this is more of a rental. Casa de mi Padre is rated R.