Review of Me and Earl and the Dying Girl (2015) by Vincent S — 19 Jun 2015

THE MISERIES OF PITTSBURGH - My Review of ME AND EARL AND THE DYING GIRL (3 Stars).

Adapting his own novel, Jesse Andrews turns over the directing reins to television veteran Alfonso Gomez-Rejon for the Sundance Jury and Audience Award Winner, ME AND EARL AND THE DYING GIRL. Playing like a more self-aware version of THE FAULT IN OUR STARS, EARL straddles similar young adult territory but with a little more edge and no kissing in Anne Frank's house, thank God! Of all the teen films set in Pittsburgh, nothing can compare to THE PERKS OF BEING A WALLFLOWER, but EARL features a witty, funny script and some truly engaging performances.

Our hero is Greg (Thomas Mann) who is deftly introduced as the sort of guy who's liked by everyone in his High School because he never has anything but surface level interactions. To throw a wrench in his plans, his mother (Connie Britton) demands that he spend time with Rachel (Olivia Cooke from BATES MOTEL), a girl he barely knows but who is dying. It's easy to see that Greg's journey is one of connecting. He refers to his lifelong friend Earl (a hilarious RJ Cyler, who surprises with every single line reading) as his co-worker, lest he get too close.

The "work" they do comprises of producing a wall full of short movie spoofs with such great titles as SENIOR CITIZEN KANE, A SOCKWORK ORANGE, and BREATHE LESS. The guys set their sights and filmmaking prowess on Rachel, and a lovely three-way friendship develops. Sure, the way-before-their-time film references lend EARL a hipster sheen I could have done without, but it's also what distinguishes it from other teen fare. In the grand scheme of things, if it gets young kids to Google Werner Herzog and Klaus Kinski, is it really so bad?

The film is also memorable for its visual aesthetic, one highly reminiscent of Wes Anderson's with its constant horizontal dolly shots, chapter headings, and characters looking down the barrel of the lens. Imagine RUSHMORE were Anderson to strive for a deeper emotional connection. Cinematographer Chung-hoon Chung, who along with his work on STROKER, favors a too-often overly schematic approach to his shots, but there's a drollness at play here that makes it all palatable.

Adding considerable charm are Molly Shannon, as Rachel's too-loving Mom, and Nick Offerman as Greg's off-kilter Dad. THE WALKING DEAD's Jon Bernthal also shows us something new, a heavily tattooed teacher with swagger, as opposed to the usual dishrags or autocrats seen in teenage comedies. The scene in which our heroes ingest his Pho and claim it as the reason they're so stoned is a highlight, especially its great pay-off. Andrews' smart script is filled with terrific moments while delivering us an unreliable narrator, and a lesson on the meaning of friendship. Thomas Mann ably carries the film with his singular, shaggy dog qualities. I only wish I felt more than just great admiration for its wit. Perhaps it's because Rachel is little more than a cipher, despite Cooke's charms, that I found myself laughing a lot but never getting that lump in my throat that all great tearjerkers achieve. Sure, EARL isn't going for that level of sentimentality, but I would have preferred a good cry in place of 20 or 30 of its any movie references. Isn't that what film school is for?