Me and Earl and The Dying Girl Review

Me and Earl and The Dying Girl

Dir: Alfonso Gomez-Rejon

Starring: Thomas Mann, RJ Cyler, Olivia Cooke, Nick Offerman, Connie Britton, Molly Shannon, and Jon Bernthal

105 Minutes

Fox Searchlight

A life raised on movies can only prepare you for so much. I’m sure my parents in some way, shape, or form proposed this comment to me along my journey through adolescence. Experience is a large component in preparation, but the funny thing about experience is that you often fall or fail through it before becoming aware of how to properly use it. Alfonso Gomez-Rejon’s film “Me and Earl and The Dying Girl”, based on the young adult novel by Jesse Andrews who also adapted the screenplay, thrusts a teenage movie loving boy named Greg (Thomas Mann) into a situation where experience holds no power of change or understanding. Gomez-Rejon takes what could have easily been a self-indulgent measure of excessive melodramatic movements and turns “Me and Earl and The Dying Girl” into a heartfelt coming-of-age story and sincere portrayal of life and death.

Greg is a sarcastic senior in high school who loves to make home videos of classic films with his best friend, or as Greg describes him “business partner”, Earl (RJ Cyler). Greg blends through high school, taking little part and little interest in every group in school in order to remain invisible and unidentifiable to the cultural trappings of adolescent labeling. But Greg’s mom (Connie Britton) finds out devastating news concerning a classmate named Rachel (Olivia Cooke).  She has cancer. Greg’s mom, feeling obliged to help in some way, forces Greg to start spending time with Rachel.

“Me and Earl and The Dying Girl” has all the trappings that often derail films of this type. A dying girl, quirky characters, numerous melodramatic undertones, it all points initially at a film that will move and operate the same way every other film like it has before. However, it doesn’t and this is largely attributed to the keen direction of Gomez-Rejon who crafts the film with grounded sincerity. The narrative is slowly paced, taking time to relax with the characters in their elements and establish a basis of relationship, whether watching Greg and Earl eat lunch silently while watching the documentary “Burden of Dreams” about Werner Herzog’s film “Fitzcarraldo” or the intimately awkward moments in Olivia’s bedroom with Greg stretching for material to talk about.  This all works in moving the characters toward the issues they are avoiding. Death is the obvious concern, but it’s also themes of inspiration, failure, and acceptance. Again, these narrative topics are handled with care and utilized in almost a secondary way because the characters are so well composed.

The cast is simply wonderful.  The three main cast members of Mann, Cooke, and Cyler each portray their respective characters with an honest and straightforward quality. Cooke is especially great; her transition through the progression of her disease is candid and confident. The supporting cast also serves an important purpose. Greg’s dad (Nick Offerman) offers support both needless and necessary while also playing comedic relief. Greg’s favorite teacher Mr. McCarthy (Jon Bernthal) also chimes in with the familiar insightful teacher rhetoric that would feel completely pointless if it didn’t come to realization at the precise, pertinent moment.

For the film buff, you will smile at the homage to the Criterion Collection and laugh loudly at the lovingly rendered adaptations of art-house properties by Greg and Earl. The aspect of film serves an important layer in the narrative, one the displays the quality that film has as a medium of distraction and insight. “Me and Earl and The Dying Girl” is an emotional experience, though it’s never devastating or heartbreaking. Instead this film is filled with heart and passion, a film that is well worth the experience.

Monte’s Rating

4.50 out of 5.00

Inside Out Review

Inside Out

Dir: Pete Doctor and Ronaldo Del Carmen

Starring: Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, Kaitlyn Dias, Diane Lane, Kyle Maclachlan, and Richard Kind

Disney/Pixar

102 Minutes

My kid was recently sitting on the ground with his head down fighting a nap. I asked him what was wrong and he responded simply with “I don’t know why I am sad”. Emotions are a constant in Pixar films. Look no further than their impressive catalog of films to display this quality, the first ten minutes of “Up” is a perfect example. What separates Pixar from some competition is the way they utilize these emotions to assist in the development of the script and characters. “Inside Out” tackles the topic of emotions taking place literally inside the head of a little girl. While Pixar may have stumbled slightly with their last few films, “Inside Out” is a return to impressive form. Director Pete Doctor and Ronaldo Del Carmen bring a unique storytelling quality to this animated film, one that moves in and out of one character’s mind, and the result is a film that is smart, poignant, and thought provoking.

Riley (voiced by Kaitlyn Dias) is a young girl who loves playing hockey and being silly with her mom and dad. She is living a happy life in the Midwest until her father starts a new job in San Francisco, uprooting Riley from the familiar and comforting routine she has come to enjoy. This is a difficult move for Riley but also for the emotions that guide her daily life. Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Mindy Kaling), and Fear (Bill Hader) are the emotions that live in the control headquarters of Riley’s mind. Joy is the leader of the group, guiding Riley towards positive memories and outlooks. However conflict erupts during the move between Joy and Sadness, leading them away from headquarters and leaving Riley stuck with Anger, Disgust, and Fear in control.

Animated films offer a medium of storytelling that, in some regards, offers greater freedom to tackle subjects complex or difficult to execute. “Inside Out” is unique in the regard that it portrays the literal emotions of the mind with characters. Director Pete Doctor and Ronaldo Del Carmen accomplish this storytelling aspect gracefully, allowing the oldest and youngest viewer easy navigation throughout. The narrative also offers some effective metaphors of life and learning, ones that are nicely accomplished through the characters of Joy and Sadness, both of whom do not understand the importance of one another.

The animation is exceptional. Just like the compositions of Pixar’s previous works, “Inside Out” crafts an atmosphere that is distinctive. Whether the formation of the world that Riley sees, a wintry, bright Minnesota when she his happy or a dreary, overcast San Francisco when she is sad, or the world of the emotions that is formed with orbs of color that reflect Riley’s memories with formed islands that distinguish the important aspects of her personality. It all serves an important purpose when it comes to displaying how the mind functions on the roller coaster of life’s emotional events.

The characters are represented flawlessly, especially the emotions that are a mix of talented comedy actors. Amy Poehler is terrific as Joy, a mile a minute vehicle of glittery yellow with unwavering happiness. Her counter is Phyllis Smith as Sadness, most will know her tone from television’s “The Office”, who’s demoralized voice reflects the gloom and worry of the small blue character she portrays. The remaining cast of Bill Hader, Mindy Kaling, and Lewis Black play nicely off one another once they are forced to start working together.  

There is much more to “Inside Out” than described here, but to share too much would be to spoil the surprise. Whether a commentary for parent discussion or an explanation for children, the film doesn’t shy away from the challenging emotions experienced in childhood or surprisingly how it continues in different ways throughout adulthood. “Inside Out” is an accomplished narrative that is supported by talented actors and lead by an insightful creative team, it’s an ambitious animated film for all ages.

Monte’s Rating

4.50 out of 5.00

Jurassic World Review

Jurassic World

Dir: Colin Trevorrow

Starring: Bryce Dallas Howard, Chris Pratt, Nick Robinson, Ty Simpkins, B.D. Wong, Vincent D’Onofrio, Omar Sy, and Irrfan Khan

Cue the music, open the gates, light the torches…the park is open and the dinosaurs are back. It’s been more than twenty years since Steven Spielberg’s “Jurassic Park” roared into theaters in 1993, bringing a blend of practical and computer-generated special effects that changed the landscape of what was possible with visual storytelling. The prehistoric came to life, spawning two sequels and now Colin Trevorrow’s “Jurassic World”. The vision of Jurassic Park from the first film has come to operational life in a corporate driven amusement park bent on bigger and badder dinosaurs. And the results are as expected, “Jurassic World” amps up the dinosaur action with exciting sequences making it feel like a thrill ride while also paying homage to the original film with clever nods and telling humor. However, the action adventure aspect is just half the ride, albeit the half most fans will be coming for. The second half, where narrative and character development exists, is where “Jurassic World” barely meets the height requirement. 

John Hammond (the late Richard Attenborough) envisioned Jurassic Park as an amusement park, though things didn’t end up so well. Fast forward twenty years and Jurassic World has been operational for a few years, shipping in visitors on boats and running a theme park with shows and interactive rides. Zach (Nick Robinson) and Gray (Ty Simpkins) are on their way to visit their Aunt Claire (Bryce Dallas Howard), who is the uptight and organized manager of the park. With corporate sponsors wanting new attractions the executives of the park decide to genetically build new dinosaurs; one specifically meant to be the mightiest attraction is called Indominus Rex. Things go terribly amiss leading Claire and former Navy man Owen (Chris Pratt), who is training velociraptors, on the hunt for the new deadly dinosaur.

“No one is impressed by dinosaurs anymore”. This comment from Bryce Dallas Howard’s character is all too telling. While Stan Winston’s practical creations for “Jurassic Park” still hold strong, movies are creating all forms of goliath computer generated monsters now, making the sights seen in 1993 a commonplace. So it’s not surprising that “Jurassic World” feels more like a monster movie than any of the films before. Indominus Rex is a monster built by man that stalks and hunts, killing anything that gets in the way and progressively moving towards a population of people. The CGI dinosaur designs are impressive, Indominus Rex is intimidating, the velociraptors are still shrewd, and a new water creature steals an early scene by jumping out of the water and eating a great white shark. These are just a few of the many new species on display.

Colin Trevorrow, who last directed the amusing science fiction comedy “Safety Not Guaranteed”, understands what this film is meant to offer, which is a visual feast of dinosaur action. On that account he succeeds with flying colors. However, there is also a narrative and human characters that need attention too. It’s a shame that two great actors like Bryce Dallas Howard and Chris Pratt are saddled with weak dialogue in a relationship scenario that is easily expected. Chris Pratt plays the role of trainer fairly straightforward without the comedy that is usually attributed to his characters, for much of the time it works. Bryce Dallas Howard is also good, her character is initially unfeeling and all business however changes once her nephews are placed in danger. The narrative starts promising, structuring the past events into connection with the present while also displaying how the science of past has been innovated to create for the future. There are other elements that, regardless of how awesome they may seem, fall apart once implemented. The side story with velociraptors being trained for military operations feels like an idea doomed from the beginning, though it serves as easy exposition to move the film from one place to another. Still, velociraptors running alongside a motorcycle is pure summer movie excitement. 

“Jurassic World” will be watched and rewatched all summer long, it’s the kind of film that will draw in new audiences and satisfy the prehistoric sensations of fans. While it may not live up to all the lofty expectations, it never disappoints in providing the viewer with dinosaur indulgence. 

Monte’s Rating

3.00 out of 5.00

Medusa (Film Festival)

Medusa

Dir: Jorge Ameer

Starring: Jeff Allen, Tom Struckhoff, Britt Rose, Jorge Ameer, and Katy Foley

(Festival)

109 Minutes

The name Medusa makes me immediately think of the 1981 Desmond Davis film “Clash of the Titans” and the beautifully grotesque rendering of the snake-headed woman who turns men into stone. It was a creepy and nightmarish monster during my youth. Director Jorge Ameer takes the Gorgon creature of Greek mythology as a point of focus in crafting a slow burning, narrative driven horror-thriller in the independent film “Medusa” that this year had its world premier at the Marche Du Film program at the Cannes Film Festival.

Jack (Jeff Allen) is a professor of mythology who has a particular interest in an antique mirror that he believes has mysterious powers. Jack ventures deep into the woods to meet Kao (Jorge Ameer), a witch doctor, who makes a deal to sell the enchanted mirror but only if Jack stays overnight. Jack agrees and is soon visited by strange occurrences and hallucinations, which continue once he returns to his apartment in the city with the mirror. Jack becomes ill, falling into a coma-like state during which he has nightmares influenced by Medusa. Steven (Tom Struckhoff), a close friend and psychologist, steps in to help Jack’s crumbling mental state; unfortunately things get worse as the myth of the Gorgon becomes closer to reality.

Ameer, who has been in the film industry for some time, has a clear inspiration for “Medusa” that feels shaped by the artistic horror films of the early 1970’s. Ameer offers a unique structure to this film; one that moves in and out of different designs assisted by some nicely rendered imagery. The structure of Jack’s visions has a purposefully strange composition.  They feel disorganized and muddled in a way that resembles the first few moments after waking up from a long slumber, it's an effective technique. The narrative is dialogue heavy, clearly a point of explanation and exposition meant to build the foundation of the myth. At a running length of nearly two hours this storytelling method becomes somewhat hindering, making a few scenes feel unnecessary. Because Ameer structures Jack’s visions/hallucinations with such purpose and filmmaking flair, it becomes easy to want less of the back and forth dialogue and more of the nightmare Jack experiences when he closes his eyes.

Mr. Ameer displays some great potential throughout “Medusa”. Crafting a film with large ambitions can be difficult, especially in the independent market, but Ameer finds creative ways to bring them to realization. In the first few minutes of the film the Medusa makes an appearance, it’s shadowy and simple and far more effective than what a big budget production would have computer generated. While “Medusa” has some rough edges, it smoothly displays what passionate filmmakers can accomplish with a little creativeness.

“Medusa” is currently on the Film Festival circuit