One of the finest Indies of the season is Me and Earl and the Dying Girl. It’s based on the novel by Jesse Andrews (who also penned the screenplay) and stars three fairly unknown youngsters. It’s a delightfully quirky tale about youth, friendship and death that has plenty of laughs, but also a believable and moving dramatic edge. Most of the credit should go to director Alfonso Gomez-Rejon, a slightly surprising choice for the job. His resume is mostly filled with lighter TV work (he’s directed several episodes of Glee and American Horror Story), but he finds his footing here without missing a beat. It’s put together wonderfully, with inventive photography and snappy editing. A great treat after a summer filled with blockbusters and heavier popcorn fodder.
It’s easy to write off Victoria as an experiment rather than a cinematic experience. With its much talked about “one take” throughout its 140 minutes running time it certainly has you paying attention and perhaps looking for flaws (the ultimate curse for any experimental filmmaker). But after settling in you’ll find it hard to think about anything other than the characters involved and the consequences of their wild night out that is the starting point for this wild ride. Director Sebastian Schipper obviously has ambition, but is careful not to forget the importance of details and emotion. Besides its technical achievement, the films other triumph is its heart. It will require you to be patient, but if you let yourself go and tag along with the ensemble you’ll find yourself feeling thankful for long after leaving the cinema.
The Overnight is the most bizarre and absurd comedy of the year so far. And that is all in a good way. A family playdate that goes completely off the rails is the setting for this tiny gem of a modern comedy classic. Featuring a terrific ensemble, starring Jason Schwartzman, Adam Scott, Taylor Schilling and Judith GodrĂ©che, who play off each other perfectly in every setting provide some of the most hysterical and outrageous moments you’ll see in an American independent picture. It’s only director Patrick Bruce’s second feature (his first was last year’s very interesting Creep), but he handles the drama as well as the comedy with steady and sober motivation, making it seem natural and logical – despite being everything but that!
ESSENTIAL LISTENING THIS MONTH:
Singer and songwriter Luke Elliot has arrived with a boom this month, below this writer and many others radar for sure. The New Jersey born musician has turned into somewhat of a Norwegian national treasure when you look at the reviews and buzz surrounding his new album Dressed for the Occasion. After two five-track Eps it’s his first full-length album, produced by John Agnello, who’s responsible for a handful of successful Norwegian records by bands such as Madrugada and Turbonegro, as well as major acts like Dinosaur jr., Sonic Youth and Kurt Vile, is truly a treat. A great mixture of folk, dark country and rock tunes that flow out with grace and an impressive ease, reeking of confidence and skills. A tremendous debut album that deserves to find a large audience on both sides of the Atlantic.
Legendary American singer Darlene Love returns this month, with her first album of new music in over 25 years. With its charming title Introducing Darlene Love (a gutsy move considering she passed 70 quite a few years ago) it is a great reminder of just how special she is, not just as a voice but a performer. Produced by Steven van Zandt and released through his Wicked Cool Records, who has gone to great lengths when finding songwriters to provide Love with material. Bruce Springsteen and Elvis Costello are just a few of the contributors. It’s a great collection that probably could have benefitted from a slight trim. With fourteen tracks it could easily have sharpened its sound and pace with one or two of the middle tracks removed, but considering the stage of her career we should just be thankful for any amount of new music being performed by Darlene Love.
Any fan of Beirut has learned not to be spoiled when it comes to new music. Since their debut album in 2006 there has only been an additional two full-length records – until this month. No No No is their fourth, and it is a terrific follow-up to their critically acclaimed The Rip Tide from 2011. Listed as the best album of the year by this writer, it proved Zach Condon and company had moved on from minor indie darlings to major orchestral players with grand ideas and an impressive soundscape. Their new album is more of the good stuff. Like its predecessor it comes with a modest nine tracks, each one a treat both lyrically and in its melody. It’s also perfectly timed for the season. The darkness of autumn and the cold of approaching winter will be no match for this delicious collection of heartwarming tunes.
Here is the opening track Gibraltar, with its delightful video directed by Brother Willis.