You Can Count On Me

Rating:
Summary: Low-Key Charmer
Review: This movie somewhat reminds me of Tom DiCillo's "Box of Moonlight" in that both are low-key character studies where the drama is never ratcheted up to the level of melodrama. This certainly helps "Box of Moonlight" and in the case of "You Can Count on Me" is probably necessary since Rudy Jr., played by Rory Culkin, is just too cute to put in harm's way and then rescue without the film thereafter turning into a big pile of mush.

Thankfully, writer/director Ken Lonergan is no Chris Columbus (director of older brother Macaulay's famous debut film) and the material is handled in a restrained and intelligent manner. When uncle Terry bad-mouths Rudy's absent and never-known father, for example, the moment is played for humor rather than a tug on the proverbial ol' heart-strings. A similar assessment applies to all the other key moments in the film and, though fireworks never occur, the characters in it slowly grow on you till the denouement where siblings Terry and Sammy part ways is strangely powerful. Maybe not the emotional cataclysm of Dreyer's "Passion of Joan of Arc", but it's enough.

Rating:
Summary: You Can Count on This Film.
Review: Finally, an intelligent poignant, character study you don't have to make any appologies for liking. This one may be mostly talk and have little action, but it's a gem ! A slice of life punched up by a literate script, some of the best acting you'll see this year and full of truth, tenderness and warmth. The film treat I was waiting for all year.

Perhaps the best performance your going to see this year is given by Laura Linney. She's simply superb here, and if there's any meaning left at the Oscars, she'll not only be a contender but walk off with a statue for her work.

Kenneth Lonergan is the writer/director of this brilliant new film. He co-wrote Analyze This, contributed to Rocky and Bullwinkle and has written some very well reviewed plays. This is the first film he has directed and it deservedly won the Best Picture and Best Screenplay Awards at last January's Sundance film festival.

Lonergan writes dialogue that is a perfect balance between the way we really talk and film-speak. His words show us characters who want to share their inner-feelings but aren't quite sure how to do it. What they say isn't always the wittiest or cleverest of things to say, but what they say sometimes hides or stops short of saying what they really mean. The subtext of what is going on with his characters is what makes his writing sublime . I'm sure he did a lot of agonizing cutting some witty and snappy lines that didn't quite fit with his characters.

Few films deal with brother and sister relationships in a manner which captures any semblance of reality. This one does and keeps hitting bull's-eyes with it's observations. We know these characters. If these people aren't in our families they are in families we have known. But we are given a rare opportunity to understand and come to terms with them.

Lonergan doesn't find too many visual ways to tell us about his characters. He doesn't give us visual sub-text to any degree. It's forgivable however when you are able to write dialogue and direct fine performances as well as he can.

Sammy (Laura Linney) is a divorced working mom of an overly sheltered 8 year old boy. She goes to church, she is a good concerned mom and she's been taking care of things in a very responsible manner for several years. Her son fantasizes about what his dad is really like. Sammy is worried about that because he's never told her son that his dad actually lives close by and has never bothered to even try to visit his son.

Sammy works at the local bank as a loan officer. A new manager Brian (Mathew Broderick) is taking over the bank. He's an overly rigid nerdish fellow who's read a few too many books on managing but doesn't know the first thing about dealing with people. He doesn't like the idea Sammy leaves the bank for 20 minutes to meet her son at the bus-stop and take him to the babysitter.

Meanwhile, Sammy's drifting pot-head brother suddenly re-appears in her life. She has missed him terribly and has worried about him because for over six months she lost complete track of him. They tragically lost their parents when they were young and are emotionally very close. Well brother Terry is in town because he needs to borrow money from his sister to help pay for an abortion for his soon to be ex-girlfriend. When he learns she's tried to commit suicide, he sends her the borrowed money and decides to stay on for a while. He'll try to be a friend to his sister and a father figure for his nephew Rudy. As long as he's entertained and in some control of the role he's decided to play, Terry is fairly trustworthy. But when something goes wrong or when he has to pay for the consequences of a bad decision he's ready to fold faster than a house of cards and get out of Dodge.

Dodge in this case being a small picture post-card upstate New York town called Scottsville. His parents are buried there and part of him detests the small sh*t-hole of a town which for the most part is peopled by church going, law abiding citizens.

Sammy has a friendship with Bob. Bob's a momma's boy in search of a momma and he's got a good heart. He's dull, but a good decent, dependable kind of dull. A lot like Sammy in many ways. Sammy and Bob however aren't in sync with each other. Their timing with each other is completely off and they can't quite relax with one another.

There's a marvelous scene in which the priest (played well by director Lonergan) talks to Terry. It's set up at first as one of the scene where the Priest is made almost to look like a straw dog character for the film-maker to make comments about organized religion all around. Then the scene turns 180 degree and Terry finally realizes the hypocrisy, and lack of meaning he accuses the church of having is not much different from the meaningless and hypocrisy of his own life. He expects to hear certain things from the priest and when he hears something different, he's forced to examine his own sense of values and morality. They aren't on very solid ground at all. He's missed the connection in life that tells him he's important in the scheme of things.

The scene is perfectly written and performed. At first it seems to be setting up a soapbox, but that quickly dissolves back into the near seamless ensemble of characters the film shows us.

There aren't many films which deal with the simple life moments this film deals with in such an honest, warm, caring and authentic manner. Often little life moments pop up in films in order to manipulate us or to serve some agenda the film-maker is passionate about sharing with us. I didn't feel like this film was trying to cheat or manipulate these characters to gain approval of an audience.

If you take a leap of faith and decide to go see the film. Don't expect it to bowl you over with truth or wit or cleverness. The film works slowly and with nuances and quiet subtleness. You might find yourself a bit bored during the first half hour. You might get annoyed and frustrated with the character of Terry. Actor Mark Ruffalo doesn't make him particularly endearing. He's a lost soul, but one you might to walk away from as much as pity. You can't though, because he's in the film a lot. Don't worry, he'll grow on you. You'll see the goodness in the character's heart even if he isn't going to change all the much during the course of the film.

Yes, the film is demanding or your patience and of your attention. It assumes you have some intelligence. Far too few films trust the audience the way this one does. Far too few films avoid giving the audience easy answers, solutions or tidy endings the way this one does. It's a difficult thing to pull off and even if you are successful at doing a superb job of it, it isn't likely you'll connect with a huge audience for your trouble.

Well, maybe this time, this deserving film will find the large audience it deserves. There's nary a false note in the entire film. See it, talk about it, encourage other people to see it. Don't put off seeing it because it's a small intimate film that will play pretty well on your t.v. set as a video or dvd rental six months from now. . . See it right now. Give yourself over to this very talented new film-maker for a few hours as soon as you can. If you're attracted or curious about what I've written regarding this film, you're going to connect to it. Yes, You can count on that.

Chris Jarmick, Author (The Glass Cocoon with Serena F. Holder Available January 2001- please pre-order it now)

Rating:
Summary: QUIRKY, INTERESTING
Review: This movie definitely is one of the more compelling films of the year 2000, which has been lean on the classics. A quirky, melancholy, and interesting character piece between a brother, his sister and her son, this movie tracks their "collision" one springtime in upstate New York. Matthew Broderick is on hand in an excellent supporting role as a tediously efficient boss; Laura Linney, in the lead role, is impressive with her skill but lacks the kind of magnetic star power that might have made this little gem really take flight. Macauly Culkin's little brother is adorable as Linney's son, as is the handsome loser who plays her brother.

Rating:
Summary: Did some one say watch it twice?
Review: I saw it on cable, part of it. Next weekend rented it to watch it on its entirety. Two days later bought it, and have seen 4 times since... I can't imagine I never came to know about this film... May be I am a little biased but having witnessed first hand account of someone being so close to the character of Terry in the movie, I must say that director-writer Lonergen has great insight of his characters. Splendid piece of artwork.I rate it A++ (too bad they dont have the scale).

By the way, my favorite scene is the lunch one..."haute cuisine of garments..." ... awesome dialogue.



Rating:
Summary: Horrible title, great picture
Review: Every year hundreds of films are made, from low budget to blockbuster and everywhere in between. The big budgets go to secure star power, special effects wizardry, lots of advertising, and top talent behind the scenes, in the hopes that many will get rich(er) by using the various formulae used by Hollywood to gauge audience appeal. Usually the big budget flicks rake in multiple millions every week and the less moneyed projects get lost in the shuffle.

And then occasionally, against all odds, a small film like this sneaks through. Oh sure, good connections help (Martin Scorsese as executive producer), and having a name in a supporting role (Matthew Broderick) is helpful as well, but it's truly a delight to see unknown and little-known performers, directors, writers, etc., triumph against those odds and create something of lasting beauty, a truly magic moment in movie history that makes the viewer feel warm without being sappy, laugh without jokes, and care about the characters without unfair manipulation.

"You Can Count On Me" is one of those rare few. You might compare it to "Tender Mercies" in its themes of family, faith, freedom, and frustration. From the first scene of the film, when a wife comments to her husband, "Why do they put braces on girls right at the exact moment when they're most self-conscious about their appearance?" to the final scene when Sammy rolls down the window of her car (a gesture that carries significance), there's not a predictable moment nor a wasted one. From the lead roles down to the smallest one-scene appearance, writer/director Kenneth Lonergan, whose only previous screen credit had been "story by" for "Analyze This," brings out the most incredible performances imaginable, including an 8-year-old named Rory Culkin (yep, Macaulay's youngest brother) who is clever but a real kid, not overplayed, overused, or over-cuted. In fact, I don't recall a single moment where you'll "catch the actors acting," it plays so authentically. The sophisticated viewer will even note how wonderful the editing is.

If only someone had come up with a better title. "You Can Count On Me" sounds like the name of a Lifetime movie of the week, as if it were some cloying chick flick goofball romantic comedy. Instead it's a deep, mature film with heart, dealing with some tough life issues with a real love for its characters.

It made the NY Times list of "1000 best movies ever made." It's one of the best films I've ever seen, and I've seen almost 300 of the films on that list. If you pass up a chance to see this film, you should hate yourself in the morning.

Rating:
Summary: Poignant film about an intricate brother-sister relationship
Review: This has become one of my favorite movies because of its realistic and honest portrayal of family life. In fact, it masterfully describes all kinds of relationships, their intricacies, and the ambiguosities that are often involved. Mark Ruffalo is especially memorable, delivering an entertaining, sweet performance, and he'll probably remind you of someone you know. All around, a great cast.

Rating:
Summary: Ties between Brother and Sister, Beautifully Executed
Review: Kenneth Lonergan's script is so poignantly observant that I couldn't help but be impressed by this relatively quiet drama, one that focuses on a mostly overlooked relationship in movies, the delicate connection between brother and sister during their adult years. The story begins abruptly with the auto accident deaths of the main characters' parents, a life-altering incident that serves as the catalyst for all the failures both children experience later in their lives. Of course, the siblings become a study in contrasts. The brother Terry is a drifting ne'er-do-well who refuses to be entangled in anything resembling responsibility since it means he needs to make an emotional investment. His sister Sammy is the polar opposite, a controlling perfectionist who stayed on in their hometown to make an orderly life for herself and her son. It's the only means she knows to insulate them from complications that would force her to question her existence. She holds down a respectable but dull job as a lending officer at a bank, keeps a well-intentioned suitor at arm's length and continues to hope for a male role model for her lonely son. When Terry comes to town for a visit, the fulcrum of emotions felt by both characters seems so real that it makes the episodic nature of the film seem all the more cohesive and touching. It's a remarkable achievement for Lonergan, who makes his feature film directorial debut with this film. He even plays a small role as the deadpan local minister who seems to be satisfied dispensing advice in a vacuum.

The acting by the leads is superb. In his first major role, Mark Ruffalo captures the ramshackle nature of Terry with an effective mix of child-like innocence and restless bravado. Ruffalo provides heart to a basically unsympathetic character without compromising the emotional inertia that drains everyone around him. But I have to hand the picture to Laura Linney, who is letter perfect as Sammy. Her porcelain looks and pinched demeanor provide a veneer for an emotionally fragile woman who is conflicted about not only her brother but her entire existence as she starts to feel it unravel. The scenes between these two actors are consistently wonderful. Best among them are the lunch scene where her excitement in seeing him quickly turns to disappointment when she realizes the true purpose of his visit; the amusing pot-smoking scene on the porch when she confesses the adulterous affair she's having with her boss; and the heartbreaking goodbye when she realizes how much she needs him in her life regardless of the pain he inflicts. Rory Culkin plays Sammy's son Rudy with quiet maturity, and the interplay between Culkin and Ruffalo is well handled as it becomes apparent that the death of Terry's parents has actually made him the same emotional age as Rudy. In a supporting role, Matthew Broderick plays Sammy's boss with the smarmy, honey-toned pretension at which he has become a master, and he is the impetus behind the hilarious scenes at the bank, which take on a Dilbert-esque flavor with pinpoint accuracy. Twangy country songs provide a comic counterpoint to the illicit scenes between him and Sammy.

I really like this film and look forward to seeing what Lonergan will do next. The DVD includes a short documentary, which includes interviews with Lonergan, Linney and Ruffalo. Strongly recommended especially for those who have danced precipitously between love and anger with their families.

Rating:
Summary: "Remember what we used to say to each when we were kids?"
Review: This is absolutely my favorite family drama/teajerker/comedy of all time. The last five minutes of it had moved me to massive tears almost every time I watched it. Laura Linney and Mark Rufallo are heartbreaking and wonderful together. Just for the record, I thought Linney who had collected a handful of best actress awards with this film was more deserving to win the Oscar than "Pretty Woman". She lost it because she was not as famous. And Mark Rufallo should've been nominated for the Oscar! Do watch this film with a box of tissues on the side.
Linney and Rufallo are orphaned siblings in a small town(Scottsville), their parents died in a car accident when they were kids. Rufallo comes home to visit Linney after drifting around the world for a several years, and Linney was so excited about it. They met up for lunch and updated with each other on what's been going on. linney was so upset to learned that he was in financial trouble again and that he was in jail. She lent him some money and took him home.
Rufallo became good friend with Linney's son played by Rory Culkin, and he even took him out to play pool and fishing. He got in trouble when he took Culkin to see his dad whom he had never met before, and got denied. His dad got in a nasty fight with Rufallo and the police arrested Rufallo. Linney was furious about his action and wanted him to get out.
Meanwhile, Linney is having an affair with her pathetic control freak boss whose wife is pregnant already. Linney's is being also proposed by her boyfriend. So everything is driving her nuts.She eventually forgives her brother and they reconciled. And it was time for him to hit the road again, even though Linney desperately wanted hom to stay. That's when the bus stop scene comes in and they have their last moment together bofore he comes home again. This is when they break down into tears and we the viewers are moved to massive tears as well.

Rating:
Summary: Touching film about damaged goods
Review: Cheesy title aside, this was a deeply moving film about flawed human nature; about two children who lost their parents at a very young age, and who grew up to be completely opposite people.

The daughter (Sam) grows up to be pathologically perfect, and the son (Terry) grows up to be pathologically unreliable. Whereas she doesn't leave the small town she was born in and holds down good jobs for lengthy periods of time, he roams the country - even going as far as Alaska - and sends postcards to his sister, who is living in the home they grew up in (a very small town), from most of the places he visits.

The performances are first rate, from first-timer Rory Culkin to even the director himself, who portrays a reverend, Kenneth Lonergan.

Terry returns home for a visit, and the mess of his life follows him, touching everyone. Sam begins a distinct fall from grace, and the growing relationship between Terry and Sam's son (Rudy) is highlighted by Terry treating Rudy as if he were an adult.

In the end the telling parts of the film are who grows as a person, and who doesn't grow as a person.


Rating:
Summary: Terry comes home to visit his sister Samantha and her son
Review: At the beginning of "You Can Count on Me" there is a 1982 car accident in a small town in upstate New York that orphans a young girl and boy. We then jump ahead to the present where the two kids are now adults. Samantha Prescott (Laura Linney) is the single mother of young 8-year-old Rudy (Rory Culkin), and her bother Terry (Mark Ruffalo) is back in town, not so much for a visit as in need of money. Samantha's life is also complicated by a couple of other men, her boyfriend, Bob Steegerson (Jon Tenney), and Brian Everett (Matthew Broderick), the new manager at the bank where she is a loan officer. Bob is interested in getting married and Brian likes lots of paperwork but does not like certain colors on the computers at the bank and the fact that Samantha takes 15 minutes each afternoon to pick Rudy up from school and take him to a sitter's house. She thinks that with Terry back in town he might be able to help, but his presence is most assuredly a mixed blessing.

We do not really find out a lot about what happened in the period in between, but we can hazard some guesses. It might be a bit simplistic, but clearly Terry has never really grown up after his traumatic childhood and is still the bratty kid brother out to get his older sister. Consequently he is able to relate to Rudy in ways that are a true revelation to the young boy and they have a series of uneven adventures. Going to the local pool hall works out but taking Rudy to meet his father for the first time is a disaster. We are not sure what Rudy thinks about the roller coaster ride with his Uncle Terry, but Samantha is not at all happy. She has enough complications in her life what with Tom talking about marriage and the friction with Brian at work has turned into a torrid little affair.

Writer-director Kenneth Lonergan's film is clearly driven by character more than by plot. Apparently he began with the idea of a conversation between a brother and sister, and kept adding things for them to talk about. The script was clearly good enough to attract a couple of major acting talents in Linney and Ruffalo, and have Broderick be content to play a choice little supporting role. Even Rory Caulkin manages to play his role without channeling the worst acting traits of his older siblings. But the film comes back to Linney and Ruffalo and the earnest portrayal of siblings that they provide. "You Can Count On Me" is not a great film, but rather a solid film (which counts for a lot given the competition) that is well performed and Lonergan mixes the drama with some slightly skewed comedy that I found engaging. We know that Terry has come home before and you have to think that one day he will return to visit Samantha and Rudy again. The best thing I can say for this 2000 film is that even while we are thinking through what happened this time, we are wondering about the next visit as well.