Everyone we don't 'Know'

Have you ever found yourself going into a movie you know absolutely nothing about? That's how I felt walking into "Me and You and Everyone We Know," the directorial/screenwriting debut of Miranda July, which won 4 awards at this year's Cannes Film Festival and a Special Jury Prize at Sundance for July's "originality in vision." Is it really that original? In a word: no.\nMiranda July plays one of the film's central characters, Christine Jesperson, an ambitious art student who earns a living by driving an Eldercab, AKA a taxi designed for old folks who can't get around anymore. There's also Richard Swersey (John Hawkes, "Identity," "The Perfect Storm"), a department store shoe salesman whose marriage has gone sour, leaving him separated and caring for his two sons, Peter (Miles Thompson) and Robby (Brandon Ratcliff). And then there are all the little characters in between such as two teenage teases Heather (Natasha Slayton) and Rebecca (Najarra Townsend); a girl no older than 8 years old named Sylvie (Carlie Westerman) who is already planning her future family; and finally Richard's perverted friend Andrew (Brad William Henke). \nWhat's it all about exactly? Well, relationships and a bit of sex, but not really. July's characters all seem to be boring and as lifeless as the script she penned. Her character Christine is just a social oddity and all of the children, while sometimes humorous, just aren't worth caring about. The only worthwhile performance comes from Hawkes since he shows some kind of emotional range, but that still isn't saying much. \nIf Miranda July is a director with such an "original" vision, why does it seem like she is copying all the other dogmatic (read: pretentious) filmmakers out there such as Harmony Korine ("Gummo"), Larry Clark ("Kids," "Ken Park") and Todd Solondz ("Storytelling")? While those three at least push the envelope with how extreme their plot's sexual encounters can be, July instead decides to stray away from such action, replacing it with sub-par sexual dialogue and the two teases giving the kid Peter a blowjob (unseen of course). She may not be copying the highly sexual aspects, but, much like the aforementioned directors, makes the viewer not give a damn about the characters onscreen because, quite frankly, there is nothing that makes them worth caring about. \nI can give July credit where credit is due. She directed/wrote/starred in her feature debut and any director who does so always deserves a pat on the back, maybe even a small round of applause, no matter how disappointing the film is. I'll even make sure to see her future work in hopes that she finds a style she can call her own. But, I won't find myself revisiting "Me and You and Everyone We Know" again anytime soon.