(2019) Drama (1091) Anna Camp, Steven Strait, Joe Lo Truglio, Chloe Mason, Kristin Taylor, Dana Millican, Reza Leal-Smartt, Grant Hall, Sydney Lovering, Parker Hall, Griffin Gadre, Kieran Gadre, Deborah Lee Smith. Directed by Tim True
Eventually, we all die. I will. You will. Your significant other will. Your parents will. Your children will. To dust we all, inevitably, finally, return.
Anna (Camp) has returned to Portland, Oregon, after an absence of 15 years to reconnect with her younger brother Michael (Strait). At first, Michael is not having it; there has been literally no contact between them since their late father threw her out of the house because she is a lesbian. Anna explains that she attempted to call, but their father would always hang up on her. It doesn’t take long before forgiveness supplants hurt feelings. Family is, after all, family.
But Anna has an ulterior motive; she has a very aggressive colon cancer that has spread all over her body. Not only is it inoperable but it is also untreatable as well. Oregon has a death with dignity law for their citizens. Anna has officially moved back and taken up residence, so she qualifies. She is in the end stages now and time is running short. She needs her brother’s support if she is going to end her life with the dignity she wants to.
She finds a new family with her wife Luisa (Taylor), Michael’s girlfriend Shonda (Mason) and Gary (Lo Truglio), Michael’s autistic/agoraphobic/OCD neighbor and co-worker whom Michael looks after. The five of them spread the ashes of Anna’s dad in a quiet, natural place, take a beach trip, have long talks about the nature of existence and what comes after death. As Anna weakens, she sees the doctor who gently tells her how to self-terminate. Will there be no miracle here?
Spoiler alert: no. Anna’s death is depicted as a part of life. The physical act of dying is handled with sensitivity and realism, so kudos to the True (who co-wrote the film) for that. He also shows off Portland pretty well, presenting it as a really nice place to live. Portland is often portrayed as the unwanted stepchild of Seattle, so that was nice to see.
The movie handles a topic – the end of life – that is rarely looked at by the movies, because it is a topic that most of us are uncomfortable with, even though we will all end up facing it someday (and I hope, gentle reader, it is a long, long, LONG time before you do). There is definite food for thought here and using Oregon’s enlightened death with dignity law is a handy springboard.
But the movie is deeply flawed. The characters are largely archetypes rather than feeling like real human beings. Camp looks way too healthy and strong to be dying; some creative make-up would have at least given her a sallow complexion. Worst of all, most of the characters are mouthing platitudes rather than any real insight. I wish the writers would have tried writing real people with real opinions for this film.
For those who are triggered by political correctness, the movie is woke AF. Both couples are bi-racial which is a good thing, but it doesn’t feel organic; it feels like it was a means for the filmmakers to feel proud of how politically correct they are. The relationships seem forced and poor Gary is the only one who doesn’t have a romantic partner. That feels more condescending than you can imagine, and the Asperger’s patient who is wiser than Merlin has become something of a cinematic cliché. I also feel a little skeevy about someone on the spectrum being used as comedy relief. Maybe I’m being too politically correct myself.
But I suppose that’s just the times we live in – everyone is overly sensitive about everything, it seems. I guess I’m no exception in that regard, but that doesn’t change the fact that this film had a golden opportunity to open dialogue about euthanasia, dying with dignity and death itself, but ends up sinking into a morass of clichés and banal plot points and characters. There is some insight to be had here, but you’ll essentially have to be work really hard to find it.
REASONS TO SEE: The subject matter is worth exploring.
REASONS TO AVOID: Overly maudlin and predictable.
FAMILY VALUES: The themes are adult in nature, with a side of profanity.
TRIVIAL PURSUIT: This is True’s debut feature film.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, MUBI, Vudu, YouTube
CRITICAL MASS: As of 6/11/20: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: The Farewell Party
FINAL RATING: 5.5/10
NEXT: This Teacher