Me and Earl and the Dying Girl : Here’s your weekly lesson in the dangers of expectation. When Earl premiered at Sundance last January, it was an outright sensation, winning both the Grand Jury Prize and the Audience Award, partially because no one had any preconceived notions about it. When it hit theaters last summer, it suddenly has those awards and buzz to live up to, and the baggage of being yet another big hit in Park City that went nowhere in the real world — which is what happened. Now, viewed through both of those lenses, it’s easy to see the picture for what it is: a decent little movie with some fine performances, some worrisome identity politics, several lovely scenes, and not quite enough awareness of its own clichés. It’s neither the great movie its Sundance audience saw nor the abomination it became in the eyes of seemingly everyone else — it’s an entertaining throwaway, worth a look, basically harmless. (Includes audio commentary, deleted scenes, featurettes, interviews, and more.)
ON BLU-RAY
The Brood : As with the best of David Cronenberg’s work, this 1979 chiller (new to the Criterion Collection) grounds its horror in real-world domestic drama, marital jealousy, and familial anxieties, which help transform a fundamentally silly premise into something scary as hell. An early production, it’s filled with hints of the directions he’d take, from obvious trademarks like body horror to intense, bristling therapy sessions (shades of A Dangerous Method). He takes an almost flat approach to the material, placing his actors in ugly interiors, giving his camera movements an unnerving unsteadiness, wielding cutaways like a blunt instrument. It comes to a stomach-churning (and tensely edited) conclusion, up to and including its wittily inevitable final cuts. Creepy, sharp, funny stuff. (Includes featurette, interviews, radio spot, TV clip, and Cronenberg’s entire 1970 feature Crimes of the Future.)