Let’s talk remakes again. Our series continues as we look at a remake which is just as good--and maybe better--than the original. Cinelinx goes ape this week as we look at the 1998 remake of Mighty Joe Young.
As cinematic simians go, Joe Young is not as well remembered as King Kong or Caesar from the Planet of the Apes films, but the original 1948 film has enough of a cult following to rate a remake, which came out exactly 50 years later.
The 1948 version of Mighty Joe Young was made by some of the same people as the classic King Kong (1933) was. It had the same writer (Ruth Rose), one of the same lead actors (Robert Armstrong) and the guy who did the Kong SFX (Willis O’Brien.) Fun Fact: O’Brien trained FX legend Ray Harryhausen, who also worked on this film as Willis’ First Tech. But I digress. The...
As cinematic simians go, Joe Young is not as well remembered as King Kong or Caesar from the Planet of the Apes films, but the original 1948 film has enough of a cult following to rate a remake, which came out exactly 50 years later.
The 1948 version of Mighty Joe Young was made by some of the same people as the classic King Kong (1933) was. It had the same writer (Ruth Rose), one of the same lead actors (Robert Armstrong) and the guy who did the Kong SFX (Willis O’Brien.) Fun Fact: O’Brien trained FX legend Ray Harryhausen, who also worked on this film as Willis’ First Tech. But I digress. The...
- 12/22/2015
- by feeds@cinelinx.com (Rob Young)
- Cinelinx
Nothing inspires magical thinking quite like death. That's the central idea in Alfonso Gomez-Rejon's Sundance standout Me and Earl and the Dying Girl, a coming of age drama whose lightness of touch never undermines its emotional weight. It's truthful and funny and often bracingly tragic, its teenage characters believably incoherent in the face of despair.
"Me" is Greg (Thomas Mann), a lanky, awkward yet socially versatile high schooler who drifts between cliques without belonging to any, too much in need of validation to commit. His only actual friend is the languid Earl (Ronald Cyler III), whom he nevertheless describes as more of a "co-worker" thanks to their sideline in amateur movie making.
Greg's overbearing parents (played by the TV dream team of Connie "Mrs Coach" Britton and Nick "Ron Swanson" Offerman) guilt him into befriending Rachel (Olivia Cooke), a classmate recently diagnosed with leukemia. Despite their initially mutual...
"Me" is Greg (Thomas Mann), a lanky, awkward yet socially versatile high schooler who drifts between cliques without belonging to any, too much in need of validation to commit. His only actual friend is the languid Earl (Ronald Cyler III), whom he nevertheless describes as more of a "co-worker" thanks to their sideline in amateur movie making.
Greg's overbearing parents (played by the TV dream team of Connie "Mrs Coach" Britton and Nick "Ron Swanson" Offerman) guilt him into befriending Rachel (Olivia Cooke), a classmate recently diagnosed with leukemia. Despite their initially mutual...
- 9/3/2015
- Digital Spy
This is the part where this writer attempts to eloquently describe his stirring experience with a film that redefined his notion of what a coming-of-age story could be. There is a boy, a girl, a sidekick, high school politics, and many of the adolescent insecurities and yearnings that come with the territory, but what’s unexpectedly striking are the stylistic and dramatic sensibilities with which these ingredients are manipulated to assemble a transcendent reinvention. Laughter and tears flow in a continuum of brilliantly executed emotional turns that are hard to shake off even months after the first viewing.
Behind "Me and Earl and the Dying Girl” are inspired debutant author Jesse Andrews, who penned both the original novel and its screen version, and director Alfonso Gomez-Rejon - whose bulk of work prior to this project was in television and as a second unit director. Their tonally nuanced and visually inventive collaboration resulted in a fascinating work that's nothing short of a cinephile's dream come true. Surely one of the year's best films and by far the best young-adult fiction adaption of the decade. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters.
Awkwardly concerned with superficially knowing everyone at school but not truly knowing anyone at all, Greg (Thomas Mann) is a 17-year-old high school senior that has mastered the art of blending in and avoiding developing meaningful relationships that could compromise his wallflower status. He is equally self-deprecating about his talents and his appearance, but efficiently conceals this uneasiness beneath witty remarks and his acerbic sense of humor. Overcoming a stint of raunchy comedies and other forgettable endeavors, Mann ultimately gets a shot at a richly layered role that demanded a camouflaged vulnerability, which eventually becomes visible as his defense mechanisms give in to intimacy.
Using Andrew’s hometown of Pittsburgh, and more specifically the house he grew up in and the high school he attended, as principal locations in Greg’s life, the director creates even more of a profound connection between the source material and his vision. Adorned with an assortment of film-related paraphernalia, such as a “400 Blows “ poster or a copy of Gomez-Rejon's favorite book “Scorsese on Scorsese,” Greg’s room is a shrine to medium. Such interest was encouraged by his father, played by the reliably amusing Nick Offerman, who is a flamboyant lover of exotic foods and art house titles that introduced him to great filmmakers like Werner Herzog at an early age.
Opposing this parenting approach is the boy’s mother (Connie Britton), a substantially more traditional figure who hopes he'll become a well-rounded adult in time for college. In her efforts to do this, Greg’s mother pushes him to befriend Rachel (Olivia Cooke), a classmate that has just been diagnosed with cancer. Greg's not pleased with the idea, but with time their initially forced hang out sessions evolve into a form of companionship and support neither of them anticipated.
Rachel has leukemia, and there is no way to entirely diminish how that weights on Greg, but she is never reduced to a defeated or pitiful token to coerce compassion out of the viewer. Yes, the possibility of tragedy, of lost promise, of truncated youth, is latent, but cancer is always boldly affronted and never shied away from in a didactic manner. Tactfully, yet certainly with the intention of posing some sharp questions about the way those who are ill are treated and perceived, the film depicts Rachel's transition from a lively girl to a physically fragile cancer patient with an authentic range of emotions and avoiding formulaic over-sentimentalism.
Cooke and Mann are on the same wavelength and the charming complicity between the two young stars is evident. Still, there is no doubt that in the crucial, most affecting sequences the actress' performance stands out as she conveys the character's powerlessness and anger towards the cards she's been dealt. Her friendship is a precious gift for Greg to figure out who he wants to become and to bet on sympathy over isolation. To know that the boy’s primordial interest is not to get the girl is fantastically refreshing. It decisively confirms that this is not a touching romantic tale but a film about a more intricate and untainted type of affection.
To balance out the heightened emotional heaviness as the narrative develops and to provide an assertive counterpart to Greg's self-doubt, the third variant in this equation, Earl (Rj Cyler), blesses every scene with pragmatic, comedic observations and outrageously straightforward lines. The somewhat unbreakable toughness with glimpses of a softer side that newcomer Cyler brings, is what makes Earl a peculiarly charismatic buddy. While Greg - afraid of labeling any interaction with anyone around him - introduces Earl as a coworker, these two are almost family. Growing up in a rougher neighborhood just across from Greg's side of town, Earl spent most of his childhood discovering film with his friend and eventually making them.
Their oeuvre is comprised of spoof films that reshape classics of World Cinema into hilariously juvenile and cheaply made treasures from the mind of a pair of outcasts who, like many of us, find refuge in the art form's ability to transform the mundane into the extraordinary. Gems like “2:38 Pm Cowboy,” "Pooping Tom,” ”Monorash" or “A Box O’ Lips Wow” exemplify the pure joy of making movies without any agenda or ulterior pretension. In Greg and Earl’s purposeless, yet passionate craftsmanship, both Andrews and Gomez-Rejon see their profound connection to the films they love validated and perpetuated on screen. These ridiculous little homages are as entertaining and original as the feature itself because their vibrant and precisely designed to be memorable - they are awesome.
Whether is entering a "subhuman" state to ignore annoying conversations, hallucinating creepy characters, dealing with a war zone called cafeteria, or spending time with his secretly wise teacher Mr. McCarthy (Jon Bernthal), Greg’s existence is a puzzle glued together by his fear of rejection. He makes films but never lets anyone see them worried about what they’ll think, he has a friend but doesn’t dare to call him a friend, and he refuses to accept he has the potential to become something greater even when everyone else points it out. It’s only when he realizes that entirely devoting his time for someone else’s happiness can be an exponentially more fulfilling and transformative adventure than selfishly hiding away, that Greg grows. The kindhearted and sincere nature of the filmmaking showcased in "Me and Earl" elevates the story even at times that could have been faulted as excessively twee if handled by a different artist.
Broad and unimaginably coherent in his use of various techniques - including a number of claymation sequences that express Greg's conviction that beautiful girls have the inherent power to shatter a young man's life into smithereens - Gomez-Rejon direction is award-worthy on all counts. Not only did he channel his own cinematic obsessions through the elaborate and awe-inspiring production design, but he also used this film to process loss in his own life by dedicating it to his father. The incredible significance of it all is reflected in every creative aspect he commanded from Chung-hoon Chung's colorful cinematography, to David Trachtenberg's meticulous editing, and, of course, the cast’s honest commitment. Putting that much heart into a project can’t go unnoticed.
With a non-verbal sequence highlighted by Brian Eno's subtly industrial and evocative score, the film finally hits you with full force and very few resist the urge to surrender to the overwhelming tenderness of a moment that's simultaneously hopeful, shattering, and strikingly visual. By honoring life, celebrating artistry, and treasuring every unfolding truth about these characters, Gomez-Rejon took Andrews book and embellished it with a strangely imaginative magic that ingeniously beguiles you to fall in love with every instant of it .
This is, indeed, the part where this writer signs off hoping many others will find “Me and Earl and the Dying Girl” as ravishing as he did.
"Me and Earl and the Dying Girl" opens Friday in L.A. and NYC.
Behind "Me and Earl and the Dying Girl” are inspired debutant author Jesse Andrews, who penned both the original novel and its screen version, and director Alfonso Gomez-Rejon - whose bulk of work prior to this project was in television and as a second unit director. Their tonally nuanced and visually inventive collaboration resulted in a fascinating work that's nothing short of a cinephile's dream come true. Surely one of the year's best films and by far the best young-adult fiction adaption of the decade. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters.
Awkwardly concerned with superficially knowing everyone at school but not truly knowing anyone at all, Greg (Thomas Mann) is a 17-year-old high school senior that has mastered the art of blending in and avoiding developing meaningful relationships that could compromise his wallflower status. He is equally self-deprecating about his talents and his appearance, but efficiently conceals this uneasiness beneath witty remarks and his acerbic sense of humor. Overcoming a stint of raunchy comedies and other forgettable endeavors, Mann ultimately gets a shot at a richly layered role that demanded a camouflaged vulnerability, which eventually becomes visible as his defense mechanisms give in to intimacy.
Using Andrew’s hometown of Pittsburgh, and more specifically the house he grew up in and the high school he attended, as principal locations in Greg’s life, the director creates even more of a profound connection between the source material and his vision. Adorned with an assortment of film-related paraphernalia, such as a “400 Blows “ poster or a copy of Gomez-Rejon's favorite book “Scorsese on Scorsese,” Greg’s room is a shrine to medium. Such interest was encouraged by his father, played by the reliably amusing Nick Offerman, who is a flamboyant lover of exotic foods and art house titles that introduced him to great filmmakers like Werner Herzog at an early age.
Opposing this parenting approach is the boy’s mother (Connie Britton), a substantially more traditional figure who hopes he'll become a well-rounded adult in time for college. In her efforts to do this, Greg’s mother pushes him to befriend Rachel (Olivia Cooke), a classmate that has just been diagnosed with cancer. Greg's not pleased with the idea, but with time their initially forced hang out sessions evolve into a form of companionship and support neither of them anticipated.
Rachel has leukemia, and there is no way to entirely diminish how that weights on Greg, but she is never reduced to a defeated or pitiful token to coerce compassion out of the viewer. Yes, the possibility of tragedy, of lost promise, of truncated youth, is latent, but cancer is always boldly affronted and never shied away from in a didactic manner. Tactfully, yet certainly with the intention of posing some sharp questions about the way those who are ill are treated and perceived, the film depicts Rachel's transition from a lively girl to a physically fragile cancer patient with an authentic range of emotions and avoiding formulaic over-sentimentalism.
Cooke and Mann are on the same wavelength and the charming complicity between the two young stars is evident. Still, there is no doubt that in the crucial, most affecting sequences the actress' performance stands out as she conveys the character's powerlessness and anger towards the cards she's been dealt. Her friendship is a precious gift for Greg to figure out who he wants to become and to bet on sympathy over isolation. To know that the boy’s primordial interest is not to get the girl is fantastically refreshing. It decisively confirms that this is not a touching romantic tale but a film about a more intricate and untainted type of affection.
To balance out the heightened emotional heaviness as the narrative develops and to provide an assertive counterpart to Greg's self-doubt, the third variant in this equation, Earl (Rj Cyler), blesses every scene with pragmatic, comedic observations and outrageously straightforward lines. The somewhat unbreakable toughness with glimpses of a softer side that newcomer Cyler brings, is what makes Earl a peculiarly charismatic buddy. While Greg - afraid of labeling any interaction with anyone around him - introduces Earl as a coworker, these two are almost family. Growing up in a rougher neighborhood just across from Greg's side of town, Earl spent most of his childhood discovering film with his friend and eventually making them.
Their oeuvre is comprised of spoof films that reshape classics of World Cinema into hilariously juvenile and cheaply made treasures from the mind of a pair of outcasts who, like many of us, find refuge in the art form's ability to transform the mundane into the extraordinary. Gems like “2:38 Pm Cowboy,” "Pooping Tom,” ”Monorash" or “A Box O’ Lips Wow” exemplify the pure joy of making movies without any agenda or ulterior pretension. In Greg and Earl’s purposeless, yet passionate craftsmanship, both Andrews and Gomez-Rejon see their profound connection to the films they love validated and perpetuated on screen. These ridiculous little homages are as entertaining and original as the feature itself because their vibrant and precisely designed to be memorable - they are awesome.
Whether is entering a "subhuman" state to ignore annoying conversations, hallucinating creepy characters, dealing with a war zone called cafeteria, or spending time with his secretly wise teacher Mr. McCarthy (Jon Bernthal), Greg’s existence is a puzzle glued together by his fear of rejection. He makes films but never lets anyone see them worried about what they’ll think, he has a friend but doesn’t dare to call him a friend, and he refuses to accept he has the potential to become something greater even when everyone else points it out. It’s only when he realizes that entirely devoting his time for someone else’s happiness can be an exponentially more fulfilling and transformative adventure than selfishly hiding away, that Greg grows. The kindhearted and sincere nature of the filmmaking showcased in "Me and Earl" elevates the story even at times that could have been faulted as excessively twee if handled by a different artist.
Broad and unimaginably coherent in his use of various techniques - including a number of claymation sequences that express Greg's conviction that beautiful girls have the inherent power to shatter a young man's life into smithereens - Gomez-Rejon direction is award-worthy on all counts. Not only did he channel his own cinematic obsessions through the elaborate and awe-inspiring production design, but he also used this film to process loss in his own life by dedicating it to his father. The incredible significance of it all is reflected in every creative aspect he commanded from Chung-hoon Chung's colorful cinematography, to David Trachtenberg's meticulous editing, and, of course, the cast’s honest commitment. Putting that much heart into a project can’t go unnoticed.
With a non-verbal sequence highlighted by Brian Eno's subtly industrial and evocative score, the film finally hits you with full force and very few resist the urge to surrender to the overwhelming tenderness of a moment that's simultaneously hopeful, shattering, and strikingly visual. By honoring life, celebrating artistry, and treasuring every unfolding truth about these characters, Gomez-Rejon took Andrews book and embellished it with a strangely imaginative magic that ingeniously beguiles you to fall in love with every instant of it .
This is, indeed, the part where this writer signs off hoping many others will find “Me and Earl and the Dying Girl” as ravishing as he did.
"Me and Earl and the Dying Girl" opens Friday in L.A. and NYC.
- 6/10/2015
- by Carlos Aguilar
- Sydney's Buzz
Thomas Mann is an actor on the cusp. Think of Miles Teller right before the release of “The Spectacular Now” or Michael B. Jordan before “Fruitvale Station.” Once “Me and Earl and the Dying Girl” hits theaters over the course of the next month, the 23-year-old actor is going to find himself busier than ever. Of course, Mann’s mug may be familiar to many moviegoers. He starred in the hit comedy “Project X” ($102 million worldwide) and had supporting roles in “Hansel and Gretel: Witch Hunters” and “Beautiful Creatures.” “Earl,” which won both the Grand Jury and Audience Awards at the 2015 Sundance Film Festival, is on a completely different level. Based on Jesse Andrews' novel, “Me and Earl” centers on Greg (Mann), a Pittsburgh area high school senior whose life takes a turn after his mom (Connie Britton) pushes him to hang out with a family friend and classmate,...
- 6/8/2015
- by Gregory Ellwood
- Hitfix
One of the amazing things about the Sundance Film Festival is it attracts people from all walks of life from all over the globe. As one of the world’s preeminent film festivals that might seem obvious, but my experience during the world premiere of “Me and Earl and the Dying Girl” may surprise even the most callous industry observers. “Earl,” which was directed by Alfonso Gomez-Rejon, is a coming of age drama that in its own ways shatters the cliche's of the genre. It tells the story of Greg (Thomas Mann), a High School senior who is pressured by his mother (Connie Britton) to hang out with Rachel (Olivia Cooke), the daughter of a family friend who has been diagnosed with leukemia. Along with his seemingly one real friend Earl (Ronald Cyler II), they cheer Rachel up by screening their homemade remakes of classic films ("Senior Citizen Kane," "2:48 Pm Cowboy,...
- 4/8/2015
- by Gregory Ellwood
- Hitfix
Park City — A great film is often one that it transcends the cliches of its genre. The 2015 Sundance Film Festival already debuted one movie that overcame the tropes of the coming-of-age picture, "The Diary of a Teenage Girl," Saturday. And on Sunday, it brought another genre-breaker to the zeitgeist with Alfonso Gomez-Rejon's powerhouse "Me and Earl and the Dying Girl." Let me start off by saying that the film's main character, Greg (Thomas Mann), would want everyone to know that the dying girl isn't going to die. She's gonna be Ok and what you'll eventually see in theaters is really just the story of their friendship. The dying girl is named Rachel, by the way, and she's wonderfully played by Olivia Cooke ("Bates Motel"). But back to Greg. Greg has spent most of high school trying to be casual friends with everyone while remaining as invisible as possible at the same time.
- 1/26/2015
- by Gregory Ellwood
- Hitfix
Every year, the Independent Games Festival gathers hundreds of indie games to play, judge, and recognize. Not only are they providing gamers the invaluable service of finding the hidden masterpieces that are released every year, but they also bring awareness to the gems that deserve to be played.
This year the over 650 entrants were distributed to 375 judges to be evaluated for each category like Excellence in Visual Art, Narrative, or Design. 650 is far more entries than they have had in years past, showing the obvious growth of the “indie gaming market” in recent years.
The winners will be announced on March 19th at the Game Developers Conference 2014, where the winners of each category will receive prize moneys (up to $30k for the grand prize), an immense amount of recognition, and even a deal with Valve for Steam distribution (if they wish). The Steam distribution deal may end up being the...
This year the over 650 entrants were distributed to 375 judges to be evaluated for each category like Excellence in Visual Art, Narrative, or Design. 650 is far more entries than they have had in years past, showing the obvious growth of the “indie gaming market” in recent years.
The winners will be announced on March 19th at the Game Developers Conference 2014, where the winners of each category will receive prize moneys (up to $30k for the grand prize), an immense amount of recognition, and even a deal with Valve for Steam distribution (if they wish). The Steam distribution deal may end up being the...
- 1/8/2014
- by Christian Mills
- GeekTyrant
Britain’s One+One Filmmakers Journal has released their 12th issue online and, like all previous issues, it is free to download. You can either click here to read the zine’s introduction or just download the entire issue as a Pdf here. (Best to right-click the Pdf link and hit “Save As.”)
The theme for this particular issue is “Trash” and the zine covers the world of exploitation cinema, including articles on horror films, Herschell Gordon Lewis, Quentin Tarantino, Glauber Rocha, blaxploitation and racially-charged films. The Content list is below.
Editors for this issue are James Marcus Tucker, Bradley Tuck and Nick Hudson.
Contents
Introduction by Bradley Tuck
True Blue Confessions of a British Trash Aesthete by I.Q. Hunter
Herschell Gordon Lewis Interview (Abertoir Horror Festival — Aberystwyth, UK: 8 November 2009) by Mikel Koven
On Quentin Tarantino’s Kill Bill: Or what happens when the Art House is Seduced...
The theme for this particular issue is “Trash” and the zine covers the world of exploitation cinema, including articles on horror films, Herschell Gordon Lewis, Quentin Tarantino, Glauber Rocha, blaxploitation and racially-charged films. The Content list is below.
Editors for this issue are James Marcus Tucker, Bradley Tuck and Nick Hudson.
Contents
Introduction by Bradley Tuck
True Blue Confessions of a British Trash Aesthete by I.Q. Hunter
Herschell Gordon Lewis Interview (Abertoir Horror Festival — Aberystwyth, UK: 8 November 2009) by Mikel Koven
On Quentin Tarantino’s Kill Bill: Or what happens when the Art House is Seduced...
- 11/12/2013
- by Mike Everleth
- Underground Film Journal
The mighty Boston Underground Film Festival celebrates their impressive 15th edition this year on March 27-31 at the Brattle Theatre. Here’s some highlights to be on the lookout for:
Opening night film: I Declare War, a childhood parable about war and brutality, directed by Jason Lapeyre and Robert Wilson.
Closing night film: Big Ass Spider!, a raucous giant arachnid vs. the military flick, directed by Mike Mendez.
Other Feature Films: Both Drew Tobia’s first feature, See You Next Tuesday; and the punk documentary A Band Called Death by Mark Christopher Covino and Jeff Howlett recently won awards at the 20th Chicago Underground Film Festival and will now kill it at Buff. Sion Sono, a Buff regular, will be screening the last of his “Trilogy of Hate,” Guilty of Romance; while Calvin Lee Reeder has the gross-out feature-length version of his gross-out short The Rambler. And Zach Clark, a Bad Lit favorite,...
Opening night film: I Declare War, a childhood parable about war and brutality, directed by Jason Lapeyre and Robert Wilson.
Closing night film: Big Ass Spider!, a raucous giant arachnid vs. the military flick, directed by Mike Mendez.
Other Feature Films: Both Drew Tobia’s first feature, See You Next Tuesday; and the punk documentary A Band Called Death by Mark Christopher Covino and Jeff Howlett recently won awards at the 20th Chicago Underground Film Festival and will now kill it at Buff. Sion Sono, a Buff regular, will be screening the last of his “Trilogy of Hate,” Guilty of Romance; while Calvin Lee Reeder has the gross-out feature-length version of his gross-out short The Rambler. And Zach Clark, a Bad Lit favorite,...
- 3/27/2013
- by Mike Everleth
- Underground Film Journal
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.