There's plenty to like here, but the movie focuses on the least interesting person on the screen, a curious choice considering we're talking life and death.
I found myself relishing the skill of the cast and laughing at the sharply turned dialogue while wincing at the self-consciousness of the storytelling and the self-congratulatory pop-culture references.
Somewhere along the way Earl eases up on the suburban-Wes Anderson whimsy and starts to find its heart, infusing the story's self-conscious cleverness and trick-shot set pieces with something sweeter, sadder, and even a little bit profound.
Poignant without being melodramatic, overflowing with unforced charm, Me and Earl and the Dying Girl holds a unique appeal that's certain to last.
The filmmaking from Alfonso Gomez-Rejon is hyper-stylized and a bit wonky at times, with a few odd security camera angles thrown into the mix. But it's also energetic and mostly fun to watch, especially the glimpses of their "awful" movies.
The biggest flaw in Me and Earl and the Dying Girl is right there in the title: the first word, specifically.
Me and Earl and the Dying Girl has those handkerchief moments, but the laughs far outnumber the hard and sad punches. This is a movie that's grounded in reality, has just enough whimsy and soars to the stars. It's one of the best films of 2015.
There are many reasons to fault "Me and Earl and the Dying Girl," but it's sweet enough, and smart enough, to overcome every one of those reasons.
"Me and Earl and the Dying Girl" is a must-see - and one of the best films of the year.