Movies to Watch Right Now (at home)

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Edie Falco in OUTSIDE IN

Honor the late indie director Lynne Shelton by watching a great Edie Falco performance in Shelton’s Outside In. I also have remembrances of Fred Willard, who, as much as anyone, invented the deadpan mockumentary, and actor Michel Piccoli, a stalwart of French cinema.

Coming up this weekend – a 2020 indie gem about inter-generational friendships – one of those rare heartwarming movie recommendations from the Movie Gourmet.

ON VIDEO

Outside In is a superb indie drama by director Lynne Shelton, who died this week. It’s a story of self-discovery with an astonishing performance by Edie Falco.  Outside In can be streamed on Netflix, Amazon, Vudu, YouTube and Google Play.

The T.A.M.I. Show is the first concert film as we understand the genre today and features eight future Rock and Roll Hall of Famers. It’s very easy to find the full one hour, 52 minute, version for free on YouTube, along with clips of each of the acts.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

SPACESHIP EARTH

ON TV

Harold Russell, Dana Andrews and Frederic Mrch in THE BEST YEARS OF OUR LIVES

Turner Classic Movies is running their usual war movie marathon on Memorial Day Weekend. But my choice, on Monday, May 25, is a movie that evokes our experience today. The Best Years of Our Lives is about people yearning to Get On With It after their lives were consumed by an upheaval they all shared. In their case it was WW II. In our case, it’s COVID-19.

One of the greatest movies of all time, The Best Years of Our Lives, is an exceptionally well-crafted, contemporary snapshot of post WW II American society adapting to the challenges of peacetime. It justifiably won seven Oscars. And it’s still a great and moving film.

When Frederic March, immediately back from overseas, sneaks back into his apartment where Myrna Loy is washing the dishes, I dare you not to shed tears at her reaction.

REMEMBRANCES

Fred Willard (left) in BEST IN SHOW

Fred Willard, as much as anyone, invented the deadpan mockumentary, starting with his talk show sidekick, Jerry Hubbard character in 1977’s Fernwood 2 Night with Martin Mull. Willard’s zenith was in This Is Spinal Tap and the Christopher Guest ensemble mockumentaries that followed: Waiting for Guffman, Best in Show, For Your Consideration, A Mighty Wind and Mascots. He finished up by playing yet another uncontrollable character, Phil Dunphy’s dad on Modern Family.

Here are some tidbits from Willard’s unashamedly unprepared dog show commentator Buck Laughlin in Best in Show:

  • If you put them in a race, who would come in first? You know if you had a little jockey on them, going like this [imitates jockeys hitting the side of the horse]. 
  • And to think that in some countries these dogs are eaten.
  • I went to one of those obedience places once… it was all going well until they spilled hot candle wax on my private parts.
  • [sees the trophy]  I’ve taken a sponge bath in smaller bowls than that.

Lynne Shelton in SWORD OF TRUST

Director Lynne Shelton was the best of the mumblecore directors with Your Sister’s Sister, Touchy Feely, Laggies, Outside In and Sword of Trust. Between her uncompromisingly authentic and goofy indies, she was sought out to direct mainstream TV like Mad Men and GLOW. She got in front of her own camera in Sword of Trust and delivered one of last year’s best performances.

Michel Piccoli in LA BELLE NOISEUSE

When I think of actor Michel Piccoli, I think of his simmering performance in La Belle Noiseuse; Jacques Rivette’s masterpiece has a run time of three hours and 58 minutes, and it’s gripping throughout because of the tension between Piccoli and Emmanuele Beart. He also appeared in Jean-Pierre Melville’s Le Doulos, Jean-Luc Godard’s Contempt and Luis Bunuel’s Belle du Jour, Diary of a Chambermaid and The Discreet Charm of the Bourgeoisie. At age 85, he was very funny as a reluctant pope paralyzed by panic attacks in We Have a Pope.

THE T.A.M.I. SHOW: rock giants as they emerged

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James Brown and His Famous Flames in THE T.A.M.I. SHOW

The T.A.M.I. Show is probably the first concert film as we think of the genre today. An amazing confluence of talent gives us an unfiltered 1964 time capsule of British Invasion, Surf, Motown, Pop and early Soul (but there’s no Folk) music.

Here are the performers:

  • The Rolling Stones
  • James Brown
  • The Beach Boys
  • Chuck Berry
  • The Supremes
  • Marvin Gaye
  • Smokey Robinson and the Miracles
  • Lesley Gore
  • The Blossoms (backing Gaye)
  • Gerry and the Pacemakers
  • Jan and Dean
  • The Barbarians
  • Billy D. Kramer and the Dakotas

Eight The T.A.M.I. Show performers are in the Rock and Roll Hall of Fame: Berry, the Stones, the Beach Boys, James Brown and the Famous Flames, the Supremes, Marvin Gaye, Smokey Robinson and the Miracles and The Blossoms singer Darlene Love, who was inducted as a solo act. Future actress Teri Garr and choreographer/pop artist Toni Basil were two of the Go Go Girls. Members of the famed Wrecking Crew session musicians constituted the house band, including guitarist Glen Campbell, pianist Leon Russell and drummer Hal Blaine, along with the jazz great, bassist Jimmy Bond. The house band is rarely glimpsed, but you can see them to the right during The Supremes’ set and at the finale.

Mick Jagger and Keith Richards of the Rolling Stones in THE T.A.M.I. SHOW

The T.A.M.I. Show was filmed in two performances at the Santa Monica Civic Auditorium. Tickets were free for LA teenagers. (Future film director John Landis and future teen heartthrob David Cassidy went as seventh grade classmates.) The event was emceed by by Jan and Dean. T.A.M.I. stands for either Teen Age Music International or Teenage Music Awards International (although there were no awards).

James Brown absolutely killed. His was a performance for the ages, and the crowd went nuts. To their everlasting regret, the Rolling Stones had to follow him to close the show.

In this performance, the Stones were hippy Brits singing Blues music (that, oddly, White American teens were only now discovering though these White guys from the UK). It’s most notable for Mick Jagger’s groundbreaking definition of a Front Man. As I write this in 2020, I just heard a Stones song on the radio that I didn’t recognize and learned that it was released this year – 56 years after the T.A.M.I. Show.

The Beach Boys in THE T.A.M.I. SHOW

The Beach Boys came on immediately after a Jan and Dean song, which does not favor Jan and Dean today in comparison. Brian Wilson’s genius and the band’s fun energy were many rungs above what Jan and Dean had to offer as musicians. It’s poignant to watch the the young, 1964 Beach Boys today, knowing that everything about them hung precariously on Brian Wilson’s traumatized mental health.

Billy J. Kramer fronting the Dakotas in THE T.A.M.I. SHOW

There are two very odd “What are those guys doing here?” sets. One is the slick-haired Brit popster Billy J. Kramer and the Dakotas, an act managed by Brian Epstein and produced by George Martin at the same time as the Beatles; Kramer got to perform FOUR songs!

The second is one of the first shaggy haired American rock bands, The Barbarians. They perform Hey Little Bird, which preceded their one novelty hit Are You a Boy or Are You a Girl?

The Barbarians, for some reason, performing in THE T.A.M.I. SHOW

When I watch these 1964 performances, I can’t help but think about what these artists still had ahead of them. James Brown had just recorded I Got You (I Feel Good), but it wouldn’t be widely released until 1965. The Stones still hadn’t created EARLY Stones songs like Satisfaction, Paint It Black, Sympathy for the Devil and You Can’t Always Get What You Want. Marvin Gaye hadn’t yet sung I Heard It Through the Grapevine or What’s Goin’ On. Ahead for the Supremes were Love Child and a flock of other number one hits. And this was before The Beach Boys did California Girls and Good Vibrations, not to mention the Pet Sounds album.

The T.A.M.I. Show is on the Library of Congress’ National Film Registry. It probably would have been more influential, except that hardly anybody saw it for years. It’s somewhat of a Lost Film, having fallen off the radar after its 1964 release. I recall seeing it on late night TV sometime in the late 1970s or early 80s. It was resurrected in VHS bootleg form in the 80s (but without the Beach Boys set).

It’s still not available to rent a stream, but The T.A.M.I. Show is available on Netflix DVD. It’s very easy to find the full one hour 52 minute version for free on YouTube, along with clips of each of the acts.

OUTSIDE IN: she finds herself finally ready

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Edie Falco in OUTSIDE IN

The fine director Lynn Shelton has died at age 54. Shelton’s drama Outside In begins when a man (Jay Duplass of Transparent) returns to his small town community after 20 years in prison.  Having been incarcerated since he was a teenager, he’s a bit emotionally stunted; he was a good kid who is now trying to be a good man.  He tries to negotiate his way among his not-so-supportive family, some former friends who share a secret and suspicious townspeople.

He’s free only because of a persistent campaign for justice by one of his high school teachers (Edie Falco).  The case has been an obsession for the teacher, much to annoyance of her blue-collar husband.  Now that the campaign has ended, the teacher must fill that vacuum with another passion.

There isn’t much passion in her marriage.  Shelton brilliantly depicts a husband who has expectations of their relationship and their future – he just doesn’t communicate them to his wife, or check to see if those expectations are shared.  He’s not a terrible person, and the relationship isn’t abusive – it’s just lapsed into staleness.

The freed convict and the teacher are comforted by each other.  There are several ways that this story could go, several of them trite.  Let’s just say that Shelton takes us in some unpredictable directions, while maintaining  authenticity.

Outside In is a story of self-discovery.  The teacher must assess what will make her happy and make some hard choices.  In a tour de force, Falco takes us through her confusion, dissatisfaction, longing, passion and, finally, determination.

Kaitlin Dever (Justified) is also excellent as the teacher’s teen daughter.  Outside In is an acting showcase for Falco, Duplass and Dever. Falco’s performance, however, is stunning.

I saw Outside In before its release at Silicon Valley’s Cinema Club.  It can be streamed on Netflix, Amazon, Vudu, YouTube and Google Play.

Movies to Watch Right Now (at home)

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NIGHT ON EARTH

More overlooked movies to watch at home: the funniest and saddest movie – all in one – and two jaw-dropping documentaries. Plus an amazingly charismatic star in a classic noir…from Poland! Scroll down for remembrances of Jerry Stiller and Little Richard.

ON VIDEO

SPACESHIP EARTH, Courtesy of Spaceship Earth

Spaceship Earth: The latest from Silicon Valley native filmmaker Matt Wolf, this documentary traces an audacious scientific quasi-experiment of the 1990s, the Biosphere 2, perhaps the Last Stand of the Renaissance Man. Just released this weekend, Spaceship Earth can be streamed from iTunes, Hulu, Vudu, YouTube and Google Play.

Cold Case Hammarskjöld: This eccentric and irresistible documentary purports to solve a historical mystery, buts it”s an excuse for the filmmaker to hop around Africa talking to aged fixers and mercenaries. It’s both an investigatory documentary and a send-up of the genre. Available on most streaming platforms.

Night on Earth: this Jim Jarmusch indie has one of the very funniest scenes and one of the very saddest scenes – in the same movie.  Night on Earth is comprised of five vignettes, each in a taxi and each in a different city: Los Angeles, New York, Paris, Rome and, of all places, Helsinki. It’s now available to stream from the Criterion Collection and Amazon. Do not confuse this 1991 Jarmusch film with the 2020 miniseries of the same name.

Ashes and Diamonds: This Polish thriller is one of my Overlooked Noir. A masterful director and his charismatic star make this a Can’t Miss. Last week I wrote when Turner Classic Movies aired it, but if you missed it, you can stream Ashes and Diamonds from Amazon and iTunes.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

On May 16, Turner Classic Movies will air The Crimson Kimono, another sensationalistic and deliciously exploitative cop noir from the great Sam Fuller.  Always looking to add some shock value, Fuller delivered a Japanese-American leading man (James Shigeta), an inter-racial romance and a stripper victim.  The groundbreaking aspect of The Crimson Kimono is that Fuller’s writing and Shigeta’s performance normalized the Japanese-American character.  This film is on my list of Overlooked Noir.

James Shigeta (Right) in THE CRIMSON KIMONO

REMEMBRANCES

Jerry Stiller, along with his wife and professional partner Anne Meara (scroll down), was a comedy pioneer. He’s best remembered for playing George Costanza’s father on TV’s Seinfeld and for being Ben Stiller’s real life dad. But Stiller sandwiched some good work in movies (The Taking of Pelham One Two Three, The Ritz, Hairspray) between the early and later phases of his work.

The Rock pioneer Little Richard has died. I fondly remember his hilarious turn in Down and Out in Beverly Hills as the neighbor to Richard Dreyfus’ family, Orvis Goodnight. He appeared in one of the very first rock n roll movies Don’t Knock the Rock (1956), a same-year followup to Rock Around the Clock. His music was featured in hundred of films and television shows.

SPACESHIP EARTH: Last Stand of the Renaissance Man?

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SPACESHIP EARTH, Photo courtesy of NEON.

The latest from Silicon Valley native documentarian Matt Wolf, Spaceship Earth traces an audacious scientific quasi-experiment of the 1990s, the Biosphere 2, perhaps the Last Stand of the Renaissance Man.

A few months ago, Wolf released Recorder: The Marion Stokes Project. He is the son of Cinequest documentary screener Sandy Wolf; in this recent profile of Sandy, I also highlight Matt Wolf’s career (scroll down).

How ambitious was Biosphere 2? (Biosphere 1 is Earth.) It was the construction of an enormous structure – big enough to host a series of ecosystems – jungle, desert, etc. And to fill it, like Noah’s Ark, with an array of plant and animal species. And then sealing a team of eight humans inside for two years to survive (don’t underestimate Job 1 in this experimental artificial environment), tend the agriculture and conduct scores of scientific experiments. The promise was to learn about how humans could survive in future space colonies.

Biosphere 2 in SPACESHIP EARTH.. Courtesy of ecotechnics.edu and Spaceship Earth.

Scientists quibble about how closed and controlled the experiments really were. Ultimately, the experiment itself is not as meaningful a story as who did it and why. Wolf could have made this a procedural, or an expose about a cult or a fiasco.

Instead, Wolf made the inspired choice to begin 25 years earlier, with the San Francisco hippie commune that became the core leadershop of Biosphere 2. Led by the charismatic John Allen and a cadre of very smart and able women, they moved to rural New Mexico, then Berkeley and then around the world. These were unusually highly functioning hippies because they didn’t dive into drugs, and they focused on tangible projects like building a seaworthy ship and a hotel in Nepal – and always experimental theater.

Along the way, billionaire-with-a-B Ed Bass took a shining to Allen and the group and became their benefactor and sponsor. That made it possible for a pipe dream about sustainability to become a real project with a budget in the hundreds of millions.

SPACESHIP EARTH, Courtesy of Spaceship Earth

Here’s what is stunning about this story. If someone, say NASA, had undertaken to create an Earth-like closed environment in preparation for space colonization, these are the LAST people who would have been asked to be involved. None of these hippies had academic or professional credentials or experience that even remotely would qualify them, in an objective sense. But they got there first with the idea and with Ed Bass’ money.

That’s what I found so amazing about the folks behind Biosphere 2 – they weren’t specialists, like the folks who build spaceships. Think of the generalist Renaissance Man who works across disciplines. These folks had a profound commitment to sustainability and said “what if?”, much like Da Vinci designing buildings, bridges and fortification, conceptualizing parachutes, helicopters and deep sea diving bells while painting great art. Or like the 18th Century gentleman inventors/scientists/industrialists/collectors.

The resultant 1990s media circus, certainly enough to scar the participants, seems almost quaint today. With an instantaneous and never ending news cycle, tribal and agenda-driven commentary and viral social media, God help them if they tried this today. It didn’t turn out to be the New Age Garden of Eden that was advertised.

Of course, there was hubris and tone deaf PR from the organizers, and the inevitable personality clashes between any eight nonconformists locked up together in a fish bowl for twp years. And then there was that sudden soaring of the CO2 level, threatening the lives of many species, including the humans.

What happened? In Spaceship Earth, it’s not treated as a catastrophe or a self-immolation or a betrayal, although you could make the argument for any of those characterizations. What’s more important is what these folks aspired to do and how far they got.

This was a genuine quest for sustainability, with some valid scientific experiments embedded in grand performance art.

Just released this weekend, Spaceship Earth can be streamed from iTunes, Vudu, YouTube and Google Play.

COLD CASE HAMMERSKJOLD: a historical mystery and a quirkier investigation

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Cold Case Hammarskjöld

Mads Brügger’s eccentric and irresistible documentary Cold Case Hammarskjöld purports to solve a historical mystery. In 1961, Secretary-General of the United Nations Dag Hammarskjöld was flying to cease-fire negotiations near the Congo-Rhodesia border when his plane crashed, killing all aboard. There has never been a satisfactory explanation of why or how the plane crashed.

Danish filmmaker Brügger enlists the Swedish private investigator Göran Björkdahl, who has been researching the Hammarskjöld crash, and heads off to Africa in search of witnesses and clues. Björkdahl is dead serious. Brügger is, well, entertaining. With an ironic wink at the audience, Brügger begins by equipping the two with pith helmets for their African exploration.

The two come across a very plausible conspiracy that the Hammarskjöld plane was targeted. And, as they move among the shady world of South African reactionaries, they encounter an even more shocking conspiracy theory. But Brügger is a story-teller, not a historian; fortunately, he doesn’t have to deliver a smoking gun.

Idiosyncratically, Brügger chooses to narrate his film by dictating the “script” to two African secretaries. Midway, he admits that what really drives him is the excuse to hop around Africa talking to aged fixers and mercenaries. And it’s a rich collection of scoundrels that he finds, some revealing old secrets, some covering them up and some apparently spinning wild tales.

That’s the fun of Cold Case Hammarskjöld, now available from all the usual streaming services.

NIGHT ON EARTH – the funniest and the saddest

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NIGHT ON EARTH in Rome

Night on Earth has one of the very funniest scenes and one of the very saddest scenes – in the same movie.  Written and directed by Jim Jarmusch in 1991, Night on Earth is comprised of five vignettes, each in a taxi and each in a different city: Los Angeles, New York, Paris, Rome and, of all places, Helsinki.

Moving west to east across the time zones, Night on Earth opens with the contrast between a working class driver (Wynona Ryder) and a striver executive (Gena Rowlands) and how they connect – or don’t.

Then we move to New York where a totally disoriented East German immigrant (Armin Mueller-Stahl) gets a job driving a hack (on his first or second day in the US) and picks up potty-mouthed passengers (Giancarlo Esposito and Rosie Perez).

The LA and NYC scenes are good, but Night on Earth really accelerates in Paris when an African immigrant driver (Isaach De Bankolé) picks up a blind woman (the gap-toothed beauty Béatrice Dall). They both are a bit touchy and immediately get underneath each others skins. The prickly conversation that follows teaches each a little about the other.

Now we get to perhaps the funniest episode in the movies (yes, I mean in the history of cinema).   A manic, motormouth Roman cabbie (Roberto Benigni) picks up an ailing Catholic cleric and regales him with an unwanted stream of consciousness confession, highlighting his own ever more inappropriate sexual partners, including a pumpkin and a sheep. It’s a rapid fire comedic assault sure to convulse any audience.

Finally, in Helsinki, two guys toss their passed-out buddy into a cab, and explain that he’s had the worst day ever – he has lost his job just when he has a wife looking for a divorce and a pregnant daughter. But the driver (Matti Pellonpää) tells them a story that tops it. Profound sadness.

The cult director and indie favorite Jarmusch made Night on Earth in 1991 after he first made a splash with Mystery Train.  He followed it with Dead Man, Ghost Dog: The Way of the Samurai, Coffee and Cigarettes, Broken Flowers and Paterson.  Night on Earth is one of the few movies that I own on DVD, and it’s now available from the Criterion Collection.  But you can now stream it from Amazon. Go for it. Do not confuse this 1991 Jarmusch film with the 2020 miniseries of the same name.

NIGHT ON EARTH in Paris

ASHES AND DIAMONDS: a killer wants to stop

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Zbigniew Cybulski in ASHES AND DIAMONDS

Coming up tomorrow night on Turner Classic Movies, a masterful director and his charismatic star ignite the war-end thriller Ashes and Diamonds, set amidst war-end treachery. It’s one of my Overlooked Noir.

It’s the end of WW II and the Red Army has almost completely liberated Poland from the Nazis. The future governance of Poland is now up in the air, and the Polish resistance can now stop killing Germans and start wrestling for control. Maciek (Zbigniew Cybulski) is a young but experienced soldier in the Resistance. His commanders assign him to assassinate a communist leader.

Maciek is very good at targeted killing, but he’s weary of it. As he wants out, he finds love. But his commander is insisting on this one last hit.

This is Zbigniew Cybulski’s movie. Often compared to James Dean, Cybulski emanates electricity and unpredictability, Unusual for a leading man, he often wore glasses in his screen roles. He had only been screen acting for four years when he made Ashes and Diamonds. Cybulski died nine years later when hit by a train at age forty,

Zbigniew Cybulski in ASHES AND DIAMONDS

Andrzej Wajda fills the movie with striking visuals, such as viewing Maciek’s love interest, the waitress Krystyna (Ewa Krzyzewska), alone amidst the detritus of last night’s party, through billows of cigarette smoke. Wajda’s triumphant signature is, literally, fireworks at the climax; the juxtaposition of the celebratory fireworks with Maciek’s emotional crisis is unforgettable.

Ewa Krzyzewska in ASHES AND DIAMONDS

Wajda adapted a famous 1948 Polish novel into this 1958 movie. In the adaptation, the filmmaker changed the emphasis from one character to another.

Ashes and Diamonds was the third feature for Andrzej Wajda, who became a seminal Polish filmmaker and received an honorary Oscar. US audiences may remember his 1983 art house hit Danton with Gerard Depardieu.

TCM will be preceding Ashes and Diamonds with the documentary Wadja by Wadja, which I haven’t seen, but I will be recording. Ashes and Diamonds can be streamed from Amazon and iTunes. It was featured at the 2020 Noir City film festival.

Zbigniew Cybulski in ASHES AND DIAMONDS

Movies to See Right Now (at home)

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THE HANDMAIDEN

More unjustly overlooked movies to enjoy at home: an erotic plot-twister, an unforgettable coming of age film, some political economics and an amazingly charismatic star in a classic noir…from Poland!

Tonight, I’ll be streaming the newest from documentarian Matt Wolf – Spaceship Earth, about the 1990s Biosphere 2 experiments.

ON VIDEO

After a few minutes of The Handmaiden, we learn that it’s a con artist movie. After 100 minutes, we think we’ve watched an excellent con artist movie, but then we’re surprised by a huge PLOT TWIST, and we’re in for two more episodes and lots of surprises in a gripping and absorbing final hour. It’s also one of the most visually beautiful and highly erotic films of the year. Stream it on Amazon, iTunes, Vudu, YouTube and Google Play.

The unforgettable coming of age film Me and Earl and the Dying Girl is perched right on the knife-edge between tragedy and comedy. The title suggests a weeper (and it is), but 90% of Me and Earl is flat-out hilarious. Stream it from Amazon, iTunes, Vudu, YouTube and Google Play.

ME AND EARL AND THE DYING GIRL

Other recent streaming recommendations:

Capital in the Twenty-First Century is a critical look at the concentration of wealth from Thomas Piketty’s best seller.

ROJO. Courtesy of SFFILM.

ON TV

On May 10, Turner Classic Movies presents the Polish thriller Ashes and Diamonds, one of my Overlooked Noir. A masterful director and his charismatic star make this a Can’t Miss. I’ll be writing more about this tomorrow.

ASHES AND DIAMONDS

ME AND EARL AND THE DYING GIRL – perched on the knife edge between comedy and tragedy

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Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL
Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL

Here’s a MUST SEE – the unforgettable coming of age Me and Earl and the Dying Girl, a brilliant second feature from director Alfonso Gomez-Rejon. The title suggests a weeper (and it is), but 90% of Me and Earl is flat-out hilarious. It’s high on my list of the Best Movies of 2015 .

Greg (Thomas Mann) is a Pittsburgh teenager who has decided that the best strategy for navigating high school is to foster good relations with every school clique while belonging to none. Embracing the adage “hot girls destroy your life”, he gives the opposite gender a very wide berth. Outwardly genial, Greg is emphatically anti-social in practice, except for his best friend Earl (Ronald Cyler II). But he even refuses to admit that Earl is his friend, describing him “as more of a co-worker”.

Greg’s parents disrupt Greg’s routine by forcing him to visit his classmate Rachel (Olivia Cooke), who has just been diagnosed with leukemia. Rachel doesn’t want any pity, so this is awkward all around until Greg makes Rachel laugh, which draws him back again to visit -and again. A friendship, based on their shared quirky senses of humor, blossoms, but – given her diagnosis – how far can it go?

Rachel is delighted to learn that Greg and Earl shoot their own movies – short knock-offs of iconic cinema classics. She first laughs when she finds that he has remade Rashomon as MonoRash. Their other titles include Death in Tennis, Brew Velvet and A Box of Lips Now.

Ronald Cyler II and Thomas Mann in ME AND EARL AND THE DYING GIRL
Ronald Cyler II and Thomas Mann in ME AND EARL AND THE DYING GIRL

Why is Me and Earl so successful? Most importantly, it perches right on the knife-edge between tragedy and comedy, and does so more than any movie I can think of. As funny as it is, we all know that there’s that leukemia thing just under the surface. But, with its originality and resistance to sentimentality, Me and Earl is the farthest thing from a disease-of-the-week movie.

Any movie lover will love all the movie references, as well as Greg and Earl’s many short films. Gomez-Rejon shot these shorts with Super 8, Bolex, digital Bolex and iPhone. Jesse Andrews adapted his own novel, and, as Gomez-Rejon expanded the number of “films within the film”, he called on Andrews to supply him with the new titles – and there are scores of them, right through the ending credits.

Finally, Me and Earl’s art direction is the most singular of any coming of age film. In fact, all the art direction led to the movie’s very satisfying ending; Gomez-Rejon brought in those surprises on the wall at the end – it’s not in the novel.

But Me and Earl and the Dying Girl is at its heart a coming of age story. Sure, the character of Greg is an original, but the life lessons that he must learn are universal.

Thomas Mann is hilarious as Greg; he could be a great comic talent in the making. Cooke and newcomer Cyler are also excellent. Nick Offerman and Connie Britton are perfect as Greg’s well-meaning parents, as is Molly Shannon as Rachel’s needy mom. Jon Bernthal also rocks the role of Mr. McCarthy, another great character we haven’t seen before – a boisterously vital, but grounded history teacher; Mr. McCarthy lets Greg and Earl spend their lunch hours in his office watching Werner Herzog movies on YouTube. (And Herzog himself reportedly loves the references.)

Alfonso Gomez-Rejon started as a personal assistant to Martin Scorsese and worked his way up to second unit director. With the startling originality of Me and Earl, he’s proved his chops as an auteur.

I saw Me and Earl and the Dying Girl in May 2015 at the San Francisco International Film Festival (SFFILM) at a screening with Gomez-Rejon.

Me and Earl and the Dying Girl is a guaranteed crowd-pleaser and a Must See. It’s available on DVD from Netflix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube and Google Play.