The manchild comedy has about run its course, but not before the Brothers Duplass get to try their hands at the tired formula. Their new comedy “Jeff, Who Lives at Home,” feels a little dog-eared in its set-up, but the Duplass touch saves it from being too conventional.

Jason Segel plays Jeff. Jeff lives at home, and he is a 30-something stoner who has not quite emerged from his mother’s basement. One morning, whilst waxing philosophical about fatalism and divine intervention in the film “Signs,” Jeff’s mom calls and gives him an ultimatum: repaint the shutters on the door or move out. The rest of the film follows Jeff’s journey across town to buy paint.

Jeff’s philosophy is what many, like his brother Pat (Ed Helms), would consider naïve. But, in the hands of Segel, he is sympathetic and funny. Instead of naïve, he is innocent and trusting, like a child. His character is reminiscent of Paul Rudd’s character in “Our Idiot Brother.”

Helms, though, is annoying and out of place. The actor has long been too manic since his over-exaggerated antics on Jon Stewart and Stephen Colbert’s television shows. Those antics fit two-to-three minute segments, but are taxing in a feature-length film.

Judy Greer and Susan Sarandon round out the cast. Both are delightful, with Sarandon in particular having fun and taking risks. Greer is gathering a solid list of graceful and funny supporting turns, with “Jeff” and “The Descendants.” Sarandon’s subplot, though, takes too many quick turns, and feels forced and fabricated.

Throughout their career, the Duplass Brothers have crafted small stories that portray the humanity of misfits. In a Q-and-A session, Jay Duplass said that the worst thing that happens in his films is that a character has his or her feelings hurt.

This type of intimate cinema is a gem of the independent movement.

The Duplass Brothers began their career making films like “The Puffy Chair” on only $15,000. Now they are working with stars of the caliber of Sarandon, Segel, Marisa Tomei and John C. Reilly. Their touch and tone translates well on a larger scale, but their aesthetic choices, as filmmakers, do not.

The biggest problem with the Duplass aesthetic is a complete negligence toward framing and shot composition. They encourage improvisation from their actors, so the films have a spontaneous feel. Unfortunately, the quick pans and zooms become tiring and feel lazy.

But, there need to more films like “Jeff.” The tragic is always funny, and the funny is never just funny. It is an independent comedy entirely devoid of irony and not afraid to explore sincerity.

It is a story entirely in love with people.