A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover "home" on their own terms for the first time.
A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.
Paul Thomas Anderson
Philip Seymour Hoffman
It's the summer of 1994, and the streets of New York are pulsing with hip-hop. Set against this backdrop, a lonely teenager named Luke Shapiro spends his last summer before university selling marijuana throughout New York City, trading it with his unorthodox psychotherapist for treatment, while having a crush on his stepdaughter.
With John's social life at a standstill and his ex-wife about to get remarried, a down on his luck divorcé finally meets the woman of his dreams, only to discover she has another man in her life - her son. Still single seven years after the breakup of his marriage, John has all but given up on romance. But at the urging of his ex-wife and best friend Jamie, John grudgingly agrees to join her and her fiancé Tim at a party. To his and everyone else's surprise, he actually manages to meet someone: the gorgeous and spirited Molly. Their chemistry is immediate. The relationship takes off quickly but Molly is oddly reluctant to take the relationship beyond John's house. Perplexed, he follows her home and discovers the other man in Molly's life: her son, Cyrus. A 21-year-old new age musician, Cyrus is his mom's best friend and shares an unconventional relationship with her. Cyrus will go to any lengths to protect Molly and is definitely not ready to share her with anyone, especially John. ... Written by
In the scene where Cyrus argues with his mom and then storms out of the house and peers back in through the window, he goes from obviously clean-shaven while inside the house to obviously scruffy when outside the house. See more »
[from outside of house]
John! John! John!
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I Hope the Film's Marketing Doesn't Make People Hate It
The marketing for this movie is terribly misleading. It sells it as a zany comedy, which could not be farther from the truth. I'm not criticizing the film -- I thought it was quite good. But people are going to see this expecting something very different from what they get, and they're going to hold it unfairly against the film.
"Cyrus" is being billed as the first mainstream effort by mumblecore darling filmmakers Jay and Mark Duplass ("Baghead"). But "Cyrus" is only mainstream in that it's released by a major studio (Fox Searchlight) and has recognizable actors in it (John C. Reilly, Marisa Tomei, Jonah Hill, Catherine Keener). In subject and style, it imports many of the characteristics of traditional mumblecore -- offbeat humor, improvised feel, bare bones production values -- wholesale.
Which again is not a criticism. I've been impressed with some of the mumblecore entries I've seen recently, like the aforementioned "Baghead" and "Humpday." "Cyrus" is a complex exploration of an odd and at times uncomfortable set up, and that it doesn't take a glib or condescending attitude toward its characters or devolve into potty jokes and slapstick couldn't make it less mainstream.
Reilly plays a lonely man looking for love and finding it in Marisa Tomei. Unfortunately, with her he also finds Cyrus, her twenty-something and morbidly dependent son. He tries to be a buddy at first, until it's clear that Cyrus isn't all that he appears and doesn't want a new guy around. The two men declare war on one another until fists fly, both figuratively and literally.
"Cyrus" is a small miracle of tone. It keeps its audience constantly guessing as to which direction it's going to go. The weird mother/son relationship depicted is at first just funny, then funny in a kind of squirmy way, then flat out disturbing. But the film knows exactly when it's about to push credibility too far, and just before it does, it lets us in on more information that makes everything plausible. One of the things I responded to most is the respect with which the actors and writers treat these characters. These people are not put on display for us to mock, or feel superior to, or pity. These are people who are trying their best to navigate tricky emotional terrain in the best way they know how, and the actors playing them all give lovely performances.
A smart, witty and thoughtful film in a season of cinematic junk food.
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