Jesse Farrelly was tended to by paramedics responding to an emergency call about an "unresponsive young male" who had suffered a "possible overdose" at an apartment in Costa Mesa, California.
According to TMZ.com, the 20 year old was transported to a local hospital, where he was later pronounced dead.
A statement released by the Farrelly family reads: "It is with profound sorrow that we accept the passing of our beloved Jesse following his struggle with addiction. We fully trust that he is now in the hands of our Lord.
"We are immeasurably grateful for the abundance of happiness and laughter he brought into our lives, and we will rejoice eternally for all the moments we got to breathe in his wondrous spirit. The family thanks you for your well wishes and kindly asks that you respect our privacy during this difficult time."
The coroner who performed an autopsy on the youngster has ruled out foul play as the cause of death.
Filmmaking siblings Bobby and Peter Farrelly, known as the Farrelly Brothers, wrote, directed and produced films including There's Something About Mary and Dumb and Dumber.
In a movie that is nothing if not ambiguous it’s only fitting that the title is misleading: The “ex” is only a former friend/fling. At least something’s mildly amusing. It starts out straightforward enough with slacker Tom (Zach Braff) being fired from his job as a chef after a food fight with his boss (a blink-and-you’ll-miss-him Paul Rudd). But with his wife Sofia (Amanda Peet) about to give birth poverty just won’t do. So they move from Manhattan to more economical Ohio where Tom takes up his father-in-law (Charles Grodin) on a standing offer to work for him in a job that Tom expects to be a regular nine-to-fiver. But as Tom immediately discovers this is no normal desk job and these are not normal coworkers. He gets off to a rough start with his supervisor wheelchair-bound Chip (Jason Bateman) after eating his yogurt. Further complicating matters it turns out Chip had a crush on and one-night-stand with Sofia back in high school—even though he’s the “ex” the title refers to—and is apparently now jealous. So he makes Tom’s life miserable and some off-the-wall variation of the standard formula ensues: Everyone believes Chip over Tom Tom loses Sofia and her father loses his job. Now he has to win back his father-in-law’s job and his wife while proving to everyone that Chip isn’t the saint he appears to be. It’s a television junkie’s dream to have this trio of small-screen leads together on the big screen—well it’s really a nightmare. Come to think of it maybe plucking the bulk of the cast from TV series (Scrubs for Braff; Studio 60 on the Sunset Strip for Peet; Arrested Development for Bateman) isn’t the best way to pinch millions from the budget. When Braff does his silly-sensitive Scrubs shtick in the movie it’s as funny as it is on the show but it’s totally not right for his character which is when he switches to serious mode a la his recent Last Kiss. Yeah he’s as confused as we are. Peet is uncharacteristically a non-entity in the movie whereas she is usually more vocal in her movies even if in a supporting role. And Bateman comes close a few times to successfully replicating Michael Bluth’s sardonic wit but then he hangs a sharp turn and delivers an inane unfunny line or physical outburst. The constant flux of bad-to-horrific acting can be as difficult to articulate as it is to comprehend. On the other hand veteran actor Grodin’s performance is very easily explained: It’s not only bad it’s irritating to the ear! And the miscasts go on with Mia Farrow an acting legend in a bit part as Grodin’s wife and near cameos from Donal Logue (Grounded for Life) SNL-ers Amy Poehler and Fred Armisen and Amy Adams (Junebug). Let’s revisit that title for a moment. As if the current misnomer wasn’t enough The Ex was formerly called Fast Track. Coincidentally once the movie was pushed back several times—which makes you think how bad this one must’ve been without whatever 11th-hour edits and reshoots were made—the title was changed perhaps in an attempt to dissuade a review from mentioning the irony in the title. But the Weinstein brothers should’ve known long before the title conundrum that this one was doomed. The script from first-timers Michael Handelman and David Guion must have undergone major overhauls as well because no script as bad as The Ex’s would have ever been greenlit. In fact it was probably originally something akin to a Cable Guy/Meet the Parents/Flirting with Disaster/Farrelly brothers hybrid but director Jesse Peretz’s movie is nowhere near those. The tone is just so unclear that it makes the actors look like they don’t even know their places—and yet it’s so damn transparent. And when the director is kind enough to carve out what is supposed to be a comedic scene it's Zach Braff taking a tumble on his bike or that good old wheelchair humor. Usually when a movie is called a “dramedy” there is drama and comedy; thus The Ex starts a new genre: “The attempted dramedy.”