Crazy Enough 2013

Dr. Fred Mulberry Chris Kattan is a successful psychiatrist who quietly hides behind his polished career. He shares a guest house with his wife, Lorna Mulberry Susana Gibb, whose pushy devotion to a natural-foods lifestyle and a budding granola business puts pressure on their already strained marriage. Their home life still includes Rose, their teenage daughter, and Freddie, a science-obsessed son who tests boundaries. The film establishes a tone of domestic routine that gradually feels uncanny.

Meanwhile, Fred’s boss, Mr. Philbrook, is running for governor and projects a sanctified image of a Christian family man, but privately he surrounds himself with women who blur professional boundaries. He even asks Fred to stop by Fitzgerald to sign papers meant to trap Dolores, who is approaching her 18th birthday. Administrator Mr. Greene Jason Padgett dislikes Fred’s meddling and becomes a recurring obstacle as Fred’s reality starts to fracture. The stakes at Fitzgerald are not just about the truth, but about control and appearances.

In an unusual turn, Fred’s twin-like experiences at Fitzgerald are echoed by Ted, a personality who sometimes appears to be Fred’s other self. Ted fantasizes about dozens of jobs and, in a comic but unsettling sequence, lands himself and Fred in the same locker room. A ditzy temp receptionist adds to the chaos by not questioning the strange switch, and before long Nurse Nancy Eleanor Threatt is summoning the big orderlies, John and Richard, to enforce the illusion. Fred’s smartphone—his only tool to remember numbers—fails him as a way out, because he can’t call a real number to verify what’s happening. The result is a tense game of cat and mouse inside a place that refuses to believe him.

Outside, Fred’s escape route is aided by a quirky twist of technology: his minivan’s GPS with a friendly female voice always seems to know where to go, whether it’s back to the natural foods store or to show him the people he needs to meet. There, Colin hopes to date Rose, but Rose is drawn to the rebellious Dylan Mitchell Burns. The family begins to sense something is seriously wrong with Fred, yet they hesitate to accept that he might be someone else. The two worlds—one ordinary and one institutional—start to bleed into each other, confusing not just Fred, but everyone around him.

As Fred navigates this labyrinth of patient-staff dynamics and glossy political ambitions, the film keeps a steady eye on the core questions: Can the brothers recover their real identities? Is Ted even necessary in the long run, or is Fred learning to live with a new, if imperfect, version of himself? And what price will the family pay if the truth remains buried behind Fitzgerald’s walls? The story suggests that, in the end, self and truth are linked to the courage to leave the comforts of familiar roles and step back into the world outside the facility.