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| Youth in Oregon |
- Movie Name:Youth in Oregon
- Genre: Comedy, Drama
- Director: Joel David Moore
- Producer: Joey Carey, Morgan White, Stefan Nowicki
- Distributor: Orion Pictures, Samuel Goldwyn Movis
- Country: United States
- Language: English
- Release Date: 3 February 2017
- Year: 2017
- Quality: High Quality (HQ)
- Space: N/A
- Screenplay on: Frank Langella, Billy Crudup, Christina Applegate, Nicola Peltz, Josh Lucas, Mary Kay Place, Alex Shaffer
Story About of Youth in Oregon:
The dysfunctional-family road trip plays out in a decidedly minor key in Youth in Oregon, a drama that struggles to breathe life into its death-themed narrative. As the ailing and deeply unhappy octogenarian who sets his sites on assisted suicide, Frank Langella finds nuance in material that ranges from on-the-nose to clumsy, and Christina Applegate’s performance as his daughter hits true notes beneath the cacophonous surface. But mainly the fractured clan at the center of the feature is not great cross-country company.
Langella plays Raymond Engersol, who announces to his family on his 80th birthday that he wants to die, and will soon be heading to Oregon, where the family once lived and where euthanasia is legal. What he doesn’t reveal to his tippling wife, Estelle (Mary Kay Place), frenzied daughter Kate and frustrated son-in-law Brian (Billy Crudup) is that he has refused the option of a second, risky surgery for a heart condition that is otherwise certain to kill him. They’re therefore convinced that he won’t meet the requirements for the procedure and that they’ll talk him out of his geriatric tantrum somewhere between Westchester and Portland.
Thus the central implausibility of a plot that’s filled with them: Ray’s kin grudgingly — and shoutingly — go along with his plan, with vague intentions of undermining it. Driving duties fall to Brian after Kate is sidelined by a dramatically pointless high school sexting scandal involving their teenage daughter, Annie (Nicola Peltz).
The trip west progresses in flatly paced fits and starts, all but bereft of emotional impact or revelation, despite the pain and longing that Langella and Applegate express with persuasive urgency. Director Joel David Moore, working from a screenplay by first-timer Andrew Eisen, draws a few potent moments from the muddled story, chiefly in an affecting sequence involving another family, one that provides illuminating contrast to the wearying bunch we’ve been subjected to for the preceding hour and a half.
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