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Raymond Engersoll aims to reach Oregon in time for an appointment to legally end his life under the state's laws. But along the way, his son-in-law helps him rediscover a reason for living.
Is this all well-acted? It certainly is, especially by Langella. But all things being equal, I'd prefer to see him in a revival of The Man Who Came To Dinner.
Youth in Oregon presents euthenasia as it might actually be faced in real life; a dramatic representation of how one might approach the issue as an active participant.
Oregon is more than a bittersweet look at a man deciding to end his life before he's too invalid to have a say in the matter: It's a study of how plain ol' stubbornness can keep a family forever brimming with dysfunction.
Moore is primarily known as an actor but this is the third feature he's directed, and he proves surprisingly unable to get layered performances out of some great actors.
Langella's tightly controlled stillness makes Ray's tantrums far less potent than the grim stoicism with which he faces his physical indignities, and his quiet domination of a family that's barely holding it together.
Powerfully acted by select cast members, but the production bites off more than it can chew when balancing a desire for emotional authenticity and the comfort of dramatic formula.