A star-studded cast makes for an interesting take on a quiet drama that otherwise would consist of unknown talent. While Tina Fey manages to incorporate Tina Fey into a family reunion movie and Jason Bateman proves he's not always an emotionally inadequate hard-ass by crying into his mommy's bosom, Adam Driver stands out as the break-out star. Perhaps a more whimsical version of his character from Girls, Driver gives an energized performance of the youthful buffoon sleeping with his therapist who just doesn't care about getting it right. Jane Fonda also stuns as usual as the eccentric, over-sharing mother with new boobs and sexual inclinations. She is the glue that holds the family together.
Coincidentally, all the film's forgettable faces are romantic supporting characters: Timothy Olyphant (Justified) as the brain-damaged neighbor and Fey's ex-boyfriend, Rose Byrne (Bridesmaids and pretty much every film since 2010) as Bateman's Girl-Who-Waited-For-His-Marriage-To-Fail, and Connie Britton (Friday Night Lights, Nashville) as Driver's mature therapist turned girlfriend. These highly acclaimed actors become lost faces of unfleshed characters, who simply exist to serve as non-family ties to the siblings.
Probably the most disappointing character is Paul, the oldest sibling portrayed by Corey Stoll, who is known best as Peter Russo, the beloved but unbridled senator with a secret in the critically-acclaimed House of Cards. Although he's the one who never left town, Paul hardly appears on screen with his siblings anymore than does Boner, the stoner turned Rabbi played by the always ridiculous Ben Schwartz (Parks and Recreation). Rather, Paul's baby-crazy wife, played by Kathryn Hahn, gets more character development and one-on-one time with the siblings.
There are many scenes in this film that demand to be significant and stirring, but few that actually deliver. Notably, a scene in which Bateman and Byrne wobble around an ice rink teems with diabetic-ally sweet nostalgia saturated with cornball lines like "Anything can happen. Anything happens all the time."
Instead, the most poignant scenes in This is Where are accidental glimpses into the characters heads.The most stirring often include Driver paired with another sibling; a scene in which Driver admits to Fey that she is the voice inside his head as Fey had pretty much raised him is by far the most subtle, charming scene in the entire film. Another between Driver and Bateman in which they touch foreheads to express affection in their father's special way stirs even my somewhat cold heart especially when Driver pulls away his voice broken with restrained feelings.
There is no denying This is Where I Leave You had problems translating Jonathan Tropper's distinct narrative as most book-to-film adaptations. The plot is too neat and tidy and predictable and sometimes the acting is overtly self-important and seems more appropriate for the stage then screen.
But while it's easier to submit to a book's request to contemplate and conduct an existential search for your soul, because as readers we are in charge of the casting, directing, and soundtrack of our own movie in our heads, this can be a difficult task for a film. Despite this, I came out of the theater feeling things--- some happy, sad, and annoyed. And in the end, isn't that the point of the movies?
