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.”
Date Movie doesn’t have a story as much as it does a series of miss-or-really-miss spoofs of date movies and cultural hodgepodge; the thin “story” is just enough to keep the film from being a series of vignettes. Julia (Alyson Hannigan) who makes Big Momma look little is determined to find her Prince Charming instead of wasting away in her lonely apartment. She briefly finds him in Grant Fonckyerdoder (Adam Campbell) before losing him (so ends any originality). So she visits a date doctor named Hitch (Tony Cox)—yes that movie—who takes her to get barbaric liposuction. Then she meets Grant again they fall in love and she meets his parents Mr. and Mrs. Fonckyerdoder (Fred Willard and Jennifer Coolidge) making for a Meet the Fockers spoof (the biggest spoof-ee). Julia has competition from Grant’s ex (Sophie Monk) allowing for more film references but ultimately they live clumsily ever after.
It’s hard to see through the utter mess that is Date Movie enough to evaluate its acting but Hannigan seems to be at least serviceable. Although it seems like “acting” here means merely nauseating the audience enough so they can taste the vomit but manage to hold it in. Like when she licks Tony Cox’s face for 15 or so seconds—in slow motion… It’s more Fear Factor than Inside the Actor’s Studio. As for Campbell Date Movie is his first. There’s no frame of reference whatsoever and yet it’s still clear that he’s above this. He almost seems like a classically trained actor who’s forced to stretch his comfort zone by performing horrendous impressions such as the orgasm scene from When Harry Met Sally. The lone semblance of a bright spot comes from Coolidge impersonating Barbra Streisand’s Roz Focker. Again way too classy for this Movie.
Date Movie's trailer brags “From two of the six writers of Scary Movie...” After seeing it you can’t help but muse “It took two writers for that movie?!” The writers in question are Jason Friedberg and Aaron Seltzer who also co-directed. The film should at the very least be an appetizer for Scary Movie 4’s upcoming entrée (to which they did not contribute) but with no hint of continuity or a passable storyline it even fails that menial task—and where the Scary Movies have succeeded is in the satisfactory stories that surround the film references. The biggest problem though lies in the spoofs: While the rules mandate that only chick flicks/date movies can be parodied the writer/directors abandon their target audience by referencing movies like When Harry Met Sally. Luckily there’s always an audience member who feels the need to solve the conundrum aloud.
When ordered to fire a long-time janitor named Stavi (Luis Avalos) Steve Barker (Johnny Knoxville) softens the blow by hiring him to mow the lawn at his apartment complex. Steve didn't provide him with health insurance so Stavi naturally loses a few fingers in a mowing accident and now it'll cost thousands to save the digits. What's a guy to do? Why of course fix the Special Olympics—a suggestion of Steve's degenerate uncle Gary (Brian Cox) who's also in the financial dumps. Former track star Steve reluctantly goes along with the scam and competes in the Special Olympics. His competitors are quick to pick up on his ruse but they decide to help him after Steve explains his motive. He must also try not to disappoint Lynn (Katherine Heigl) the beautiful volunteer who doesn't know of his real identity. What's a guy to do? Take the high road of course. Certainly Knoxville—of Jackass infamy and debauchery—would have no moral trepidation about headlining offensive exploitative crap like The Ringer but stardom beckons him if he only he stops aiming so damn low! His performance here was probably not as easy as it'd seem but it's reasonable to think that Jackass stunts involving a bottle of absinthe and some paper cuts to the cornea quickly eliminated any butterflies. What Knoxville has in spades is that rare charisma to prevent him from ever looking uncool. Then there's Cox the latest revered journeyman to sell his soul on the cheap for a role completely beneath him. Mostly disabled actors round out the cast uttering any and all funny lines but there's something fundamentally wrong when the audience erupts in laughter before the lines are even delivered. Though the Farrelly brothers—directors of There's Something About Mary and Dumb & Dumber--only acted as executive producers of The Ringer their lowbrow stamp is smeared all over. Directing chores were handed over to Barry Blaustein prolific writer of comedies like Coming to America making his feature directorial debut. The Ringer delivers on its promise of frat-dude humor and Blaustein certainly knows how to make his leading man shine—but it does so in cheap sophomoric ways.