Metacritic-Rezensionen

It's a fresh, beautiful and heartbreaking achievement that continues to surprise until the very last scene. It's dangerous to call something an instant classic, but sometimes it's simply the truth.

A smart-ass charmer, merciless tearjerker and sincere celebration of teenage creativity.

Poignant without being melodramatic, overflowing with unforced charm, Me and Earl and the Dying Girl holds a unique appeal that's certain to last.

Brimming with wit, crushing last-act melancholia, laughs, and poignant heart, Me And Earl And The Dying Girl is a spectacular delivery of tears, love and laughter, and a beautifully charming, captivating knock-out.

Blending wit and modesty, Mann fits the bill, coming across as an overgrown kid with a good heart, but virtually no practice in relating to others — which is perhaps the thing that makes his experience so profoundly relatable.

What begins as a spirited but safely familiar pastiche of John Hughes and Wes Anderson is compelled to become its own thing, Gomez-Rejon’s film embracing the most tired tropes of stereotypical YA weepies so that it can kiss them goodbye.

High-school students have plenty of growing pains to offload, and Gomez-Rejon clearly knows what makes them tick. His film is at once buzzy, fun and confronting.

Overly precious but undeniably affecting, Me And Earl And The Dying Girl travels into familiar dramatic terrain — the offbeat coming-of-age story, as well as the terminal-cancer drama — to deliver something that feels handmade and also heartfelt.

It unites a mélange of teen-film tropes into a narrative overburdened with cultural references and framing devices, and undermined by a lack of attention to character.

Gomez-Rejon has erected a gleaming shrine to adolescent narcissism.