Youth in Oregon

Suicide and euthanasia have been and will continue to be very controversial moral issues. I believe that in most societies today the prevailing attitude towards people who choose to end their own lives is judgemental and dogmatically hostile. This is understandable. People who choose to end their own lives challenge our conventional thinking that "life is a gift" no matter how much hardship and pointless suffering it contains. Indeed, there is something threatening about someone taking their own life. It scares us, it confuses us. But it tells us something about ourselves: how we often choose to ignore the fact that we live in a pretty terrible world that is full of sentient suffering. And that the meaningless platitudes like "suicide is a permanent solution to a temporary problem" and "it always gets better" mean little to people who are actually going through hell on a daily basis. It is, therefore, very important to explore the issues of suicide and euthanasia not only through philosophical arguments, but also through art. "Youth in Oregon" is one of the attempts of such exploration.

I think if you are willing to go into this with an open-mind and consider the point of view of the characters (and I mean ALL characters!), you are likely to enjoy this movie. I think the acting was great and the plot was good enough to keep me interested and engaged. Yes, there are flaws also and some of them may be annoying. But for me this movie has been mostly a positive and thoughtful experience.

I understand why some people would be upset with this movie as it does, quite subtly I think, challenge the prevailing life-affirming paradigm. But it is by no means one-sided. Essentially, it tries to consider different issues like autonomy, the meaning and value of human life, friendship and family from different perspectives represented by different characters. If you go into this with an open-mind and ready to do some thinking to consider the point of view of the characters, there may be value for you in this movie. Even if there are no overly deep insights, there is still much to consider and to ponder at. The aesthetics and atmosphere were also to my taste. I also found the comedy aspect funny. But it is probably better to go into it with lower expectations. Thank you!

So its a very good film that I saw at in New York at Tribeca. Great cast and direction but really its the story that is the star. Not implausible that the old guy is tired and wants to go to Oregon and end it. The concept of ending your own life when you want rather than having something bad happen to you from cancer heart attack etc ad nauseum is becoming in the zeitgeist. Its catching a wave as a discussion point versus the old dogma from the Catholic Church and other religions that its a big no no. So how people in a family deal with the concept of a loved one deciding to end his life is real. Was also in Me Before You but this one is way less Hollywood and much more real. Its just beginning of these type of stories in some for or another. So kudos to the writer director and the cast for bring the story to the screen

Greetings again from the darkness. This is one of those tough little indie movies that would fit right in at most film festivals. Directed by Joel David Moore and written by Andrew Eisen, the film has a few exceptional scenes, yet once it's over, it's pretty easy to just leave it behind. That shouldn't happen with a story dealing with a theme of death with dignity. Shouldn't there be a desire to talk about the issue, or at least spend some time in thought?

Perhaps the reason this one isn't the gut-punch we expect is that while the central reason for the story is 80 year old Ray's (Frank Langella) desire to end life on his terms, the vast majority of screen time is devoted to the exceptionally dysfunctional family that surrounds him. It's not an "issue" movie, and dysfunctional family movies are about as common as superhero movies these days … we've become a bit numb.

Ray and his wife Estelle (Mary Kay Place) are living with their daughter Kate (Christina Applegate), her husband Brian (Billy Crudup) and Kate and Brian's teenage daughter Annie (Nicola Peltz). It's a crowded house where emotions run high, voices are usually amped to 11, and Kate and Brian's marriage is stressed to the limit with responsibilities.

Bad news at the doctor's office leads Ray to the crucial decision on his future. He announces this while giving the most uncomfortable birthday speech ever at dinner that evening … "I want to die." It's a terrific scene and each person's reaction is priceless – to the point where we almost wish it were in slow motion so as not to miss anything.

Typically poor teenage judgment by daughter Annie means mother Kate stays at home for discipline, while Brian reluctantly agrees to drive Ray cross country to Oregon to find out if he qualifies under the mercy killing law. Estelle and her always present booze come along for the ride, but it's mostly the strained relationship between Ray and Brian that generate the fireworks. Along the way, they add Ray's estranged gay son Danny (Josh Lucas), as well as Brian's angry college age son Nick (Alex Shaffer). Once they reach Oregon, another wonderful scene/sequence occurs as Ray meets up with a longtime friend who has made the same decision. It's a well handled and well acted portion of the story.

Ray's decision to hide his medical diagnosis from the family is the source of the most recent conflict, but there's a history in this family. Isn't that always the case? A lack of communication often causes even more issues than too much honesty. The abundance of dysfunction can't be offset by some peaceful bird-watching, and all of the frustration and anger prevents the necessary conversations on the more interesting topic … a reason to live vs. a desire to die. A slight re-focus would have taken more advantage of the terrific performance of Langella, and added some fun to the post movie discussion.

The movie has based on the "right to die" controversial issue ... but never,ind because the script is too emotional till it mostly won't make any sense , the writer is forcing a dying old man to take a torturous exhausting road-trip just because writer's out of any other ideas to fixing up him with his mentally challenged family members ! The old man who can't even walk has to seat inside a compact car for days and tolerate his mental family !! ... This punishment is enough to make ANYONE to commit a suicide , he's living with his crazy bipolar daughter and freaky drunk good for nothing wife and completely jackless grands ... HIS OWN FAMILY IS KILLING HIM, BEFORE ANY DISEASES ! HERE'S AN IDEA : JUST GO AROUND THE WORLD AND WATCH BIRDS TILL YOU DIE !the family should have gone to Oregon instead of him !

I agree with some of the points other reviewers have made, but I wanted to offer an opinion from inside the subject matter of the film. Has a member of your family chosen to die by their own hand because they face the rest of their lives in an ill and endlessly declining body? Or do you currently know someone who is now, or has been, terribly ill and now faces an unknown quantity of time on Earth with a seriously altered body that no longer looks or functions normally? From both of these perspectives, I watched this film, hoping to see something with which I could identify. I ended up feeling a bit ripped off - which really made me think. As others have said, what you think should be the vital points of the topic feel buried under heavy-handed drama that grates on the nerves rather than lending a sense of "the real stuff people have to deal with when they're alive." And yes, it feels like a screwball comedy that had all of the humor erased from the script. An artistic choice? I don't know. Yes, people get angry when faced with the possibility or the reality of a loved-one's suicide. Anger, resentment, guilt, it is all there. But there is no "voice of reason" in this film, and I suspect that's what most viewers feel cheated of. We want a magical ending, a sense of completion, catharsis, or at least a sense of dramatic satisfaction (the ending may not be the one we hoped for, but it felt 'right'). What was Roy thinking, sitting in the room with his friend Pete? To me, in retrospect, that was the climax of the film - the point where a decision was made and now everyone in the story has to figure out how to deal with it (and with all the things they've said to each other throughout the film). This movie may not be what we wanted, but it is what it is and we have to choose how to deal with it and with its subject matter (which isn't what we were hoping for, let's face it). People make choices. There are cumulative consequences for every one of those choices, and there is no "easy" out. Death is never an "easy" out. That stings, both in art and in life.