Review of I Love You, Man (2009) by Tiberio S — 23 Jun 2011

Another stellar performance from the great Paul Rudd. This will be the movie that makes everybody want to be Paul Rudd's friend! What I love about this performer is his total diversity in roles while still remaining true to a core personality that is his own. It's an interesting blend that's very much the comedy performer's signature. In complement to the design of the film itself, Rudd's performance is tainted with awkwardness. Rudd plays Peter Klaven, a real estate agent struggling to make the biggest sell of his life: the 'Incredible Hulk' Lou Ferrigno's home. This is just a quirky, funny subplot that eventually plays itself into the main plot about Peter trying to find a best friend, and ultimately best man, for his forthcoming wedding to the beautiful Zooey (Rashida Jones). Peter was just never cool with the guys; his style is too clean, too nice, and too housewife-like for guys. Not a moment goes by when we don't believe in Peter's history and his struggle to obtain real friends because of his absolute appropriateness, a seemingly perfect 'psychologist-friend' for the ladies. I wonder if Rudd used Steve Carell's performance in 40 Year Old Virgin as a framework; there are similarities.

Along the way we meet such colorful characters as the confused homosexual date Doug (Thomas Lennon), the prick husband to one of Zooey's friends Barry (Jon Favreau), the voice-cracking hyper sports jock Lonnie (Joe Lo Truglio), and the eventual best friend himself Sydney Fife (Jason Segal). Sydney is a cool, lax, straight-shooter who lives his life comfortably and not at the behest of societal taboos. He brings out the real inner-being locked up inside of Peter. He is the best and worst thing for Peter because as much as he helps Peter identify himself, he also draws a wedge between Peter and Zooey (Zooey isn't necessarily a fan of this changed Peter).

The rule for character empathy is being able to identify with characters. And while not everyone is able to relate to Peter's problems, they are depicted realistically enough to at least empathize with them. Writer/director John Hamburg may have stolen a page or two from the Judd Apatow playbook, but he at least does good hackwork and isn't making some dimensionless homage film. It's sort of a story inverse to "40 Year Old Virgin," and it's no more or less interesting. There is physical humor but Hamburg doesn't resort to purposeless humor. Impeccable timing plays a key in shaping the audience response, and here we get a great exemplification of such a craft. I've always believed that great comedy is a difficult art not nearly respected enough by the snooty avant-garde seekers of the Oscar crowd, but it's a shame such an art is ignored by them. Perhaps we should have an annual Comedy Academy Award ceremony since God knows those phonies will never honor truly great storytelling in this needed genre.