In a recurring animated sequence in Me and Earl and the Dying Girl, a moose suddenly appears and instantly tramples a small unidentified mammal. Symbolic of the school knockout’s treatment of the film’s lead character Greg (Thomas Mann), the sequence sets the tone for this quirky, steadfastly unsentimental film about important stuff. It also reveals Greg’s total lack of self-worth–a condition he seems to get uncannily more comfortable with as time goes on.
A born sociophobe, Greg’s trick of high school survival is to have only casual encounters with every clique but nothing deeper with any particular clique. This includes avoiding the all-important choosing of a cafeteria table for lunch. Instead he sits in the office of his history teacher (the usually daunting Jon Bernthal), along with Earl (R.J. Cycler), who he calls his “co-worker” rather than his friend who he’s known since they were five. Greg and Earl actually make films together–short, deliberately bad parodies of classics. (e.g., “A Sockwork Orange,” “Eyes Wide Butt”).
Then one day, Greg’s equilibrium is thrown off when his mom suggests–no, insists–he visit Rachel (Olivia Cooke), a newly diagnosed leukemia victim who Greg hardly knows. Thus begins a hard-won friendship that contains virtually no false notes nor any of the usual tacked-on sappy ones that usually have us heading for the exits in movies of these sorts. Based on a novel by Jesse Andrews, who also wrote the screenplay, this wholehearted film is directed by Alfonso Gomez-Rajon, and he’s certainly a talent to keep an eye on. Extremely versatile with varied filming techniques, long takes, and Richard Lester-esque madcap edits, in the end he achieves a dexterous balance of unconventional style, ironic off-the-wall funny charm, and bona fide delicate storytelling. No less a luminary than Brian Eno showed up to lend a hand and over a dozen compositions that provide eerie resonance and au aura of import.
It’s hard to choose between the film’s three young adult leads on who is the better actor, so I’ll call it a tie. They’re the year’s best ensemble cast so far. It must be mentioned that Cooke’s Rachel has an uncanny ability to refuse to elicit pity that ought to be checked out in acting schools. A supporting turn from Nick Offerman as Greg’s eccentric toga-wearing sociologist, pigs foot-eating dad doesn’t hurt either. What Brian Eno is to soundtrack music Offerman is to tearing a hole in your funny bone. He’s able to overcome the somewhat obvious notion that his character is probably superfluous to the film. Yet Offerman’s masterful comedic timing lends a heft to the atmosphere.
Some have complained that it’s a stretch that kids today would actually go ahead and make film parodies of classic art movies. It’s a conceit I’m willing to indulge. After all who’s to say a bright high schooler wouldn’t find a young Werner Herzog both highly compelling and a perfect target for satire? (Gomez-Rajon quotes Herzog extensively and hilariously). Our boys’ penchant for filmmaking also sets up a pivotal climactic plot development that is in perfect harmony with this terrific film’s overall spirit of capturing its kids’ cadences and interactions perfectly–their flaws included, of course.
Me and You and No Goo…4.5 (out of 5) stars