In a particularly memorable scene, Cyrus (Jonah Hill) assures John (John C. Reilly) that he is “out of [his] league,” to which John responds, “If you want to mess with me, I’m gonna mess with you right back.” So begins Mark and Jay Duplass’ “Cyrus,” a hilarious battle of wits that presents a fresh twist on the classic “fight for the girl” storyline.
Cyrus and John are fighting over Molly (Marisa Tomei), Cyrus’ beloved mother and John’s new girlfriend in this humorously bizarre “love triangle.” The film is a comedy, drama and romance all rolled into one and makes for an hour and a half of solid entertainment.
In this “dromanedy,” John a hapless loner recently informed of his ex-wife’s engagement falls for the similarly lonely, yet very beautiful Molly. Their relationship, however, is constantly thwarted by Molly’s narcissistic, high maintenance and passive aggressive son Cyrus. A battle of wits between Cyrus and John quickly develops.
Plot aside, “Cyrus” is worth seeing simply because it is just so damn funny. Reilly and Hill — both alumni of Judd Apatow’s acclaimed brand of raunchy-yet-moralistic comedy — let their comedic talents shine while remaining true to the movie’s understated nature. Their chemistry, too, is impeccable.
On a deeper level, “Cyrus” is a thought-provoking Oedipal drama. The peculiar mother-son relationship treads a very thin line between societal standards of platonic and incestuous love, as illustrated by their tacit use of the bathroom at the same time.
Furthermore, one could easily mistake Cyrus’ comments for rhetoric pertaining to a sexual lover. The intensely awkward nature of their relationship compels the viewer to question at what point a mother’s doting and affection are harmful rather than supportive of a son’s self-esteem and independence.
Above all, “Cyrus” is a heartfelt love story. The chemistry between the seemingly-pathetic John and the lovable Molly has the nagging, too-good-to-be-true feel, as if it could all fall apart at once. Perhaps the most thrilling aspect of this twisted take on the generic narrative of protagonist and antagonist fighting-for-the-girl is the disconcerting thought that the good guy might not win.
This film truly thrives on so many levels because of the intrigue and resonance of the characters, and the impressive depths to which they are portrayed. Tomei is perfectly cast — she plays her typical charming and sympathetic self with enough sex appeal to somewhat alleviate the arrant awkwardness in her scenes with Hill. On the other hand, this makes it that much harder to believe that she would ever fall for a pathetic character like John — but we can overlook that.
Hill basically plays an evil version of his typical film persona — he exhibits his usual deadpan, sardonic delivery but remains coolly restrained and devoid of over-the-top charisma. He exhibits none of the vulgarities — which ironically always seem to downplay his intensity as if to alert the audience that his character should not be taken too seriously — that accompany his character in other films. This is not to say his character is not funny, but he exhibits a sinister element that makes Cyrus somewhat terrifying.
Reilly does an admirable job with his character as well, and audience members cannot help but root for him to triumph over the ruthless Cyrus.
Despite its funny and casual nature, “Cyrus” is truly a thought-provoking and enjoyable romantic drama that should be taken seriously. It won’t be easily forgotten.