That is not to say that nothing happens in the movie. This isn't just people sitting around cups of tea crying about their feelings. There is a lot of excellent humor in the quirky supporting cast, especially the youngest daughter not yet in high school doing yoga just before bed. The grandmother, too, is amazing in her constant obsession with dying that leads her to put the number for the body bag folks that will come to collect her on the phone handle. There is also, of course, the mockery of white suburban kids doing their best impression of MTV rap videos. This side-plot delves into the incredibly predictable but lovable friend showdown over a girl.
The movie really delivers in banter and the snarky, jaded, broken soul approach that Webb brings to all of his social interactions. He's only twenty-six years old, but his point of view is so resigned and patronizing that even the older characters seem amused by his elder statesmanlike personality. Brody handles this character with the same LA skepticism and clever word play that fans have long (well, not too long) loved in his portrayal of Cohen. He shows a real reach from his small screen alter-ego in the long silences and complete detachedness from his surroundings. He is not excitable or over-analyzing about his situation, but sees everything through gray-colored glasses that make most of his responses concerning his heart-break and lack of direction some form of "meh."
The movie is endlessly amusing in its dialogue and avoids concentrating on what it means for an ordinary Joe to get dumped by a Lindsay Lohan or Natalie Portman (though those moments are there, and they are hilarious), opting for a more subdued look at being hurt in love and figuring out what makes love worthwhile. It also serves an as important counter-point to movies that summon incredible insight in a few short lines that make everything okay. Listening is the prescription of the film, and it is also the best way to watch it: with careful ears and an acceptance that not all problems can be solved with catch phrases found on AIM profiles.
The movie really delivers in banter and the snarky, jaded, broken soul approach that Webb brings to all of his social interactions. He's only twenty-six years old, but his point of view is so resigned and patronizing that even the older characters seem amused by his elder statesmanlike personality. Brody handles this character with the same LA skepticism and clever word play that fans have long (well, not too long) loved in his portrayal of Cohen. He shows a real reach from his small screen alter-ego in the long silences and complete detachedness from his surroundings. He is not excitable or over-analyzing about his situation, but sees everything through gray-colored glasses that make most of his responses concerning his heart-break and lack of direction some form of "meh."
The movie is endlessly amusing in its dialogue and avoids concentrating on what it means for an ordinary Joe to get dumped by a Lindsay Lohan or Natalie Portman (though those moments are there, and they are hilarious), opting for a more subdued look at being hurt in love and figuring out what makes love worthwhile. It also serves an as important counter-point to movies that summon incredible insight in a few short lines that make everything okay. Listening is the prescription of the film, and it is also the best way to watch it: with careful ears and an acceptance that not all problems can be solved with catch phrases found on AIM profiles.
