“Don’t judge a book by it’s cover.” We hear this often – yet when we go through Borders, it’s the covers that are so prominently featured. And when it comes to my selection of movies, sometimes this is just what I do. Actually, to be more accurate, in the case of Me and You and Everyone We Know, I chose a ‘movie’ by it’s ‘title’.
Everyone who knows me knows I’m a sucker for a good romantic comedy. Netflix makes suggestions based on movies I’ve seen. When this title showed up in my list of suggestions – for some reason I just had to add it to the queue. And only now after seeing it do I realize that it’s not exactly a romantic comedy in the “Serendipity” or “Notting Hill” sense of the phrase. It is much more akin to Garden State or The Squid and the Whale – both of which I loved immensely.
On Wednesday night, I found myself with some time and a stack of 5 Netflix films. The only reason why I chose this film was because of it’s short runtime (about an hour and a half). After having seen it, I’m certain that this will probably end up being the best in film in the stack of films that I have to watch – and it may quite possibly be the best film that I’ve seen all year.
It’s difficult to categorize Me and You. It has elements of romance, but it’s not by any stretch of the imagination a true romantic comedy. It’s got some dark comedy elements, but it’s not in any way approaching the edge that Todd Solondz goes over. And while it has elements of drama, it’s not a traditional drama either. So what exactly is it?
Me and You has the “Independent Films Channel” credit before the film plays, and this is completely appropriate. The best way to describe the film is that it is an independent film. And this is a good thing. It’s independent in many ways, but mostly in the way that I like – this is a completely original cinematic experience. It’s strange. It’s unpredictable. And if you finish the film, it’s rewarding.