ManiakJiggy This is How Movies Should Be Made

Acensbart Excellent but underrated film

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Mandeep Tyson The acting in this movie is really good.

SnoopyStyle Christine Jesperson (Miranda July) is a video artist desperate to get her work in Nancy Herrington (Tracy Wright)'s show. Richard Swersey (John Hawkes) is a recently separated shoe salesman with sons Peter and Robby. One day, Christine is driving her "Eldercab" to take Michael to buy shoes and Richard talks her into buying a pair herself. They begin a long hesitant romance. Meanwhile everybody they know is searching for connections in odd ways. Peter becomes entangled in Heather and Rebecca's sexual curiosity with Richard's boss Andrew. Robby gets into an internet sexual liaison with an unknown figure who turns out to be someone they know. Sylvie with her hope chest is infatuated with Peter.The two girls are the most shocking. Robby is the scariest. Peter and Sylvie are the most touching. With all these kids dealing with these adult situations, the leads' romance actually seems tame by comparison. It's odd that the central characters don't measure up to their costars but that's the case here. It's quirky and offbeat but I wouldn't call it charming. The movie threatens to go dark with the kiddie material but it backs off before it goes overboard. Miranda July and John Hawkes are doing some interesting acting. They are endearing in their own sections.

Armand it is a special film. a delicate, fragile, profound reflection of life with its many sides. it is bitter and warm and nice and cruel. a man, his children, wife, neighbors, a woman. and splendid dialogs, touching performance. vulnerability and search of happiness. deep social problems. and fear. innocence in strange clothes. and need of the other. a fish in a bag and a dialog. a picture with bird and the sun. a woman and a child in park. and too realistic atmosphere. after its end - the image of Brandon Ratcliff amazing performance. and the traces of a film about basic common things. like a modern fairy tale. only shadows of dragons is different. and the sleep of Charming Prince.

Meg G The first time I had heard of Miranda July was when I saw the trailer for her most recent film, The Future. I saw the trailer and thought: hmm, this filmmaker sure has a strange sense of storytelling. When I went on IMDb and found a more early film of hers, Me and You and Everyone we Know, I decided to take a chance and told myself: go ahead, be brave, watch the movie from the weirdo artist with a surname that happens to be the name of a summer month. Turns out, my perplexity was effortlessly brushed away by hooking myself into this film: Miranda July's quirky protagonist (a narrator as well as one of the main characters) was so refreshingly real, I wasn't sure if July was playing herself or this apparently fictional heroine. The dialogue is all authentic and unapologetic: the scene between John Hawkes' character, Richard (a sweet-natured and honest performance made all the more impressive when I realized, thirty minutes into the film, that this was the same man who played the chilling cult leader Patrick in Martha Marcy May Marlene)and Miranda July's Christine on the sidewalk on the way home from work is beautifully written and had such a poetry present, it was one of my favourite scenes in the whole film. Another appreciative aspect of this film is that July delivers a love story that makes you forget its a love story: so interwoven is Richard's relationship with his boys and Christine's attempts at impressing curators with her original and unorthodox performance art as well as the story of a wonderfully three dimensional neighbour with a fetish for teenage girls while the girls themselves are so ridiculously riddled with hormones and experimentation with their sexuality, it comes off more like the real deal rather than a forced depiction of youth struggling to come into themselves. These stories are all intertwined into a perspective of connection, of how we connect with one another, be it in person or over cyberspace. It allows the audience to ask the greater question: How lonely are we in a world designed to connect us but at the same time manages to isolate us as well? It's a lovely theme that July executes without fault. When this film ended, it left me with a feeling of wonder and some remaining perplexity. It wasn't until I thought about it later why this perplexity had resurrected itself: I didn't watch a movie. I watched the lives of people who could easily be the people I sit next to on the bus with or are neighbours with. This wasn't just entertainment: It was a depiction that hit close to the bone while at the same time managing to inspire humour and, visually speaking, beauty. I give it an A+ and the highest recommendation. Well done, Miranda July: I took a chance and this expert storyteller did not disappoint.

ItsAlwaysSomething I know I'm probably in the vast minority, but I really didn't think this film was all that great.I understand that "MAYAEWK" was meant to be kind of a sociological study of how people relate (or, completely don't) to one another. Having said that, I don't think that alone can carry a full-length movie. A full length movie generally requires a plot to make it work; unfortunately, this movie doesn't have one.In fact, this film felt like a disjointed compilation of really corny student films where the actors make cryptic metaphors, perform nonsensical stunts, and say or do so-called shocking things merely to make the audience think, "Wow! This film is SO poignant and edgy!" Yawn.I found myself watching this movie waiting for the punchline or, at the very least, some kind of resolution to the characters' stories, but there weren't any. In the end, the shoe salesman and artist never go on their date, we never find out why the little girl keeps a dowry, we never find out why the man who left signs hides when the teenage girls go to his door, etc.To me, the reasons behind why the characters act the way they do is 1000% more interesting than merely presenting a superficial view of how they act. I felt kind of betrayed when I made it to the end of the movie and thought, "That was it? That was 'one of the year's best films' according to Roger Ebert?!" It was kind of like waiting in a line at an amusement park only to get to the end and realize that the line WAS the attraction; such a letdown.At best, the movie is mildly entertaining because of the weird things the characters do. The little boy's "poop back and forth" scene truly was priceless, but in the end, that doesn't save this plot-less pointless movie.D+