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They spend lunchtime in the office of the hip history teacher, Mr. Greg and Rachel are white and middle-class and live in neighborhoods and houses depicted as inviting; Earl is black and poor, and lives in a desolate, quasi-industrial neighborhood in a seemingly dilapidated house.
Does he intend to go to college? Does he have girlfriends or boyfriends? Here, that omission is particularly grating because Earl is black—and the movie offers no sense of what that fact means to Greg—or, for that matter, what it means to Greg that he himself is white.
Expertly played by Thomas Mann, Greg is awkward, aloof and self-loathing, and his deepening relationship with the dying girl does little to change any of this, one of the many refreshing aspects of this exceptional film. RJ Cyler and Olivia Cooke give equally strong performances in the other two principal roles, while screenwriter Jesse Andrews and director Alfonso Gomez-Rejon pull off a tricky tonal balancing act, seamlessly combining a snarky sense of humour with profoundly moving moments that feel earned and never exploitative.
Their efforts are aided by an unusual score from Brian Eno and a uniformly excellent cast. Special mention goes to the parodies of famous arthouse films produced by Greg and Earl in their spare time, all involving puns of the original titles, each of which are hysterical.
Posted in Bar Reviews February 28, The next is a stop-motion scene that's an homage to Charles and Ray Eames's movies. The final act is an abstract animation of shapes and colors meant to convey things Greg can't say to Rachel. The director bawled his eyes out, then played it during every take of that final scene.
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