Sean K. Cureton

Archive for June, 2017|Monthly archive page

Youth in Oregon: The Problem of Pain

In Movies on VOD: Reviews and Recommendations on June 17, 2017 at 11:42 am
Youth in Oregon

Orion Pictures

Youth in Oregon (2017)
Directed by Joel David Moore
VOD Rating: Liked It

The task of articulating and presenting the case for the right to die is tricky to say the least. The legal quandaries that inevitably arise when the issue is raised in public or private has continued to be a spot of political and moral contention, resulting in a stalemate for those who wish to turn in a life of prolonged anguish for the final relief of death. Enter Youth in Oregon – the latest directorial outing from actor-turned-director Joel David Moore – as a cinematic apology for those on both sides of the continuing argument. Starring Frank Langella as the terminally ill octogenarian Raymond Engersol determined to make his way back to his estate in Oregon in order to secure legal euthanasia, Youth in Oregon is an inherently taut drama. Billy Crudup and Christina Applegate co-star as Raymond’s dissapproving son-in-law and daughter respectively, and through their emotional admonishment of assisted suicide the viewer is able to hear both sides of the issue.

By and large, Youth in Oregon goes a significant way towards advocating euthanasia to the mainstream. In a film that opens on the Engersol family in a state of mild disrepair, with Raymond having long since moved into his daughter’s family household following his initial diagnosis, Langella leads a life of emasculated indignity. With death knocking at his door, and current treatment methods quickly becoming more and more ineffective against his illness, Raymond ceremoniously announces to his immediate nuclear unit that he has decided to make the trip back to Oregon to secure the right to die. The road trip that shortly ensues is filled with humor, warmth, and passion, and the final destination – even as its details have been explicitly described and ascertained throughout – still manages to shock and awe in its implied ethereal significance. Avoiding any easy spiritual bypass towards alleviating the problem of pain, Youth in Oregon struggles with the meaning of life by way of the importance of the people that make up the only world that is quantifiably self-evident to the senses.

For some, Raymond’s disillusionment with continuing to live could be seen as a form of nihilism. For others, his bravery in the face of suffering may ring with the clarity of logic. It’s impossible to summon the pain of another human being as our own, and in Youth in Oregon that task is approached with sincerity and deference to the ones facing that problem head on. At the end of the third act, Youth in Oregon allows the viewer into an incredibly intimate sequence that sees Raymond visiting a dying friend on his death bed who has secured the right to assisted suicide. Moore thusly takes the viewer to death’s door, opens the lock, and lets the viewer decide how much further they themselves are willing to go, thus barring any arbitrary conclusion from being reached – albeit with the hinted certitude that Raymond will cross said threshold of his own volition.

Moore offers his viewers a lot of dense material to chew over in Youth in Oregon, and for the most part his latest film acts as a marvelous talking point for a complicated issue of civil rights. As an argument for the right to die, Youth in Oregon manages to present the issue as it might actually be faced in real life, resulting in a dramatic representation of how one might approach the issue as an active participant. It’s easy to make pronouncements regarding the legal and moral implications of taking one’s own life regardless of the personal circumstances, which is why a movie like Youth in Oregon is so refreshing in its ability to force the viewer to contend with the ethical quandary with respectful restraint. Moore might not state how he explicitly feels about euthanasia and the people who pursue the legal right to it, but Langella goes a long way in his performance towards making the realities of such a decision more immediately approachable. The idea of ending one’s own life is a harsh reality to contend with, but having a cinematic expression like Youth in Oregon with which to approach its thorny edges is a small blessing in a life filled with pockets of such intense human pain.

Youth in Oregon is currently available on Amazon Prime, and is My Movies on VOD: Recommendation of the Week. This review is an abridged version of an article that was originally published by Film Inquiry.

Advertisements

It Comes at Night: A Midnight Odyssey

In Movie Reviews: 2017 on June 10, 2017 at 9:54 am
It Comes at Night

A24

It Comes at Night
Directed by Trey Edward Shults
3 ½ out of 4 stars

It Comes at Night – the sophomore outing from American writer-director Trey Edward Shults – is a thoroughly satisfying art house genre feature. Shults’ latest motion picture production ensconces itself in the shroud of horror, only to pull the rug out from under the feet of an unsuspecting audience to reveal a more psychologically tuned drama. Ostensibly about a viral outbreak that has killed an unknown percentage of the human population, It Comes at Night builds upon the tension of its title while offering little in the way of explicit terror. Holed up in a house in the middle of the woods is a family of three, who soon find themselves playing reluctant hosts to another close-knit nuclear unit. What follows from this premise is a whole host of paranoid apparitions that operate in a surreal realm of tangible distrust and unease.

In the opening shot, Shults greets his audience with the face of a dying man named Bud – played by David Pendleton – who is soon revealed to be the grandfather to Carmen Ejogo’s Sarah, herself the wife and mother of Joel Edgerton’s Paul and Kelvin Harrison Jr.’s Travis. Pallid and covered in dark spots, it’s quickly made apparent that Bud has become infected with a virulent virus of an untold contagion, and is swiftly taken out to the woods to be shot in the head before burial. Hinting towards the very best works of the zombie sub-genre, It Comes at Night borrows from some of the core narrative tropes of horror master classes like Night of the Living Dead and 28 Days Later, yet manages to surpass them in its unwillingness to exploit the walking dead. Instead of falling back on a host of shambling deadites to illicit an immediate sense of danger, Shults feels far more at home with the imagined horrors of the living. Forced to undergo varying states of cabin fever brought about by instinctual self-preservation turned hermitic isolation, It Comes at Night exhibits the hollowness of people living in the wake of the apocalypse.

Borrowing heavily from the themes and imagery of 16th century Dutch painter Hieronymus Bosch – whose canvases of grotesque and decripit landscapes feature prominently during the film’s first act – It Comes at Night is a dark and twisted fantasy. Scrabbling for a hold in a world that doesn’t really seem to exist beyond an established set of routines and the bonds of one’s immediate family, belief in the good of mankind becomes an antiquated philosophy. When Christopher Abbot’s Will shows up at their door one night, Paul, Sarah, and Travis are reluctant to take in an unwanted visitor. And later, when Will and Paul go out to retrieve Will’s wife and son, Kim and Andrew – played in the film by Riley Keough and Griffin Robert Faulkner, respectively – the two fathers are attacked by another roving pair that bear an unsettling resemblance to themselves. Ostensibly having killed two people whose situation may not have been all that different from their own, Shults makes it apparent that Paul and Will live a disassociated existence.

In the film’s climactic third act, It Comes at Night retains a parabolic ambiguity. Refusing to offer any easy answers – or explain Travis’ strange nightmares and midnight odysseys – Shults spins an unforgettable yarn. The movie leaves viewers with an oddly compelling series of half-remembered shots and stolen glances that serve to give shape to its discomfiting form. Edgerton turns in another stirring performance that serves to ground the film in a world where assumptions inform a reality ruled by solipsism and mania. Fact and fiction are blurred in It Comes at Night in a way that serves to mirror the disorientation of its characters – and the viewer by proxy.