Me and earl and the dying girl – review

Me and earl and the dying girl is a tragicomic teen narrative whose mawkish tale is based on a geek that is on the verge of getting to know a person suffering from leukemia, and is eventually lifted by its unique offbeat tone. The Sundance-wowing indie takes the themes of Now Is Good and The Fault in Our Stars, sounding irksome and beyond words as Alfonso Gomez-Rejon likable film clearly confounds both prejudices and expectations. Adapted by Jesse Andrew from his best-selling novel, Young Adult, Me and earl and the dying girl  is a thrilling story of three young high school misfits who struggle to grow up as they face death in the middle-class Pittsburgh.

This film is a unique kind that has an arch, kooky and winsome written in Helvetica font and made in the same studio with Juno. The clever aphorisms and screwball-sharp quips are creatively tossed by the characters possessing casual aplomb, in this case to the strains of the indie-inflected score of Brian Eno. Me and earl and the dying girl  is tender and thoughtful, bursting with energetic camerawork and mordant humor as it is completely acted with merciful intelligence.

Official trailer :

At its core, this film depicts an outstanding picture that is based on the onset of the age of a defeatist, gawky, film-obsessed teen known as Greg (Thomas Mann). Greg and his long-time friend, Earl (RJ Cycler), spend their time evading their fellow schoolmates as they made short and silly pastiches of great movies such as The Clockwork Orange, a film concerning orange juice and socks and reconfigured as the famous The Sockwork Orange.

Greg feels guilt-tripped by his mother, Connie Britton, into befriending Rachel (Olivia Cooke) , a Stage IV cancer-infected classmate. As acted by Cooke, an English actress that seizes her moment comfortably with both hands, Rachel appears to be wry and witty, resisting self-pity pluckily as her health condition deteriorates. It’s then Greg, following her refreshingly platonic and blooming relationship with Rachel that he learns to avoid wallowing in adolescent solipsism.

However, Earl’s role turns out to be more of an issue. Regardless of him living in squalor, having a terrifying brother who speaks in profanities and possesses a pit bull, what is provided to us is some sort of tired trope of a talented black guy who is highly committed to helping his white buddy. Bothersome and for no apparent reason too, he and his fellow black character, a vocal limo chauffeur, turn to be comically randy as this is evidenced by the countless number of times Earl is heard saying “titties.”

However, for the larger part, Gomez-Rejon, a former Martin Scorsese’s personal assistant, utilizes his dynamic direction to swerve the cliches in the genre-transcending contrivance appreciation to the endless efforts by his cast. The most impressive and fascinating element of the film is that it pulls off the rare feat of wanting to achieve a non-ironic meaning during a hipster age.
Me and earl and the dying girl  remains a zestily confident, moving and funny fable about teenage cinephilia and friendship.