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You Can Count on Me 2000 |
Review by Jonathan Cornwell |
Directed by Kenneth Lonergan
R, 109 min. (language, some drug use, some sexuality) |
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Starring: Laura Linney, Mark Ruffalo, Rory Culkin, Matthew Broderick, Jon Tenney
Producers: Barbara De Fina, John Hart, L. Meistrich, Jeff Sharp
Screenplay: Kenneth Lonergan
Distributor: Paramount Classics
Released: 11/10/00 (Limited) |
Rating:
  (out of ) |
It seems that too many movies from Hollywood are more interested in a rose-colored view of small-town or suburban life with
glazed over endings that put that warm fuzzy feeling in your stomach. Some of them work, but many are contrived, predictably
boring efforts that otherwise ruin any semblence of real enjoyment from the film. You Can Count on Me is not one of those
films. Open-ended, realistic, and very well-acted, it correctly portrays what many people encounter in their everyday lives -
the mundane, the routine, but also the complex, intricate relationships that further or hinder their lives as they try and make
their way through life's barrage of curveballs. Immensely rewarding, this film takes care with its characters, it doesn't just
offer up the cookie-cutter situational dramas we're accustomed to, but immerses the viewer into their lives because of the
similarities they find in their own.
The story takes place in upstate New York, where Sammy (Laura Linney) and Terry (Mark Ruffalo) are orphaned at an early
age when their parents are killed in a car accident. Sammy remains to live in their parents' house with her own 8-year old son,
Rudy (Cory Culkin), while Terry has been in flight, criss-crossing the country looking for work or whatever other circumstances
lead his path (at one point a stint in jail for assault). Though they love each other intensely, they're relationship is strained mainly
because of their completely different personalities. Sammy is organized, religious, and energetic, while Terry is irresponsible,
nonreligious, unpredictable, and an emotional rollercoaster. Forced to live with each other long enough, there will be
problems (more like fireworks). Terry has come home for some monetary help, but ends up staying a little longer when he
instantly bonds with Rudy, who is in desperate need of a father figure in his life. Terry's presence has stirred something in
Sammy; she soon finds herself bed-hopping between a long-time boyfriend, Bob (Jon Tenney), and her new infuriating boss,
Brian (Matthew Broderick), who is one of those people promoted beyond their competence. She realizes that she has become
as lost emotionally as her brother, while trying to keep an eye on Rudy, who has embraced some undesirable traits of Terry.
The ironic part of the story is that Sammy and Terry have basically changed places by the end of film - Terry is now more
responsible and true to his feelings, while Sammy is reckless and irresponsible. They also realize they cannot live together,
something that Terry finally learns to accept. What complicates matters is Rudy - Sammy desperately needs Terry around
for support, but doesn't want them together all the time as is the case with him living at home. And, as is usually the case,
Rudy ends up with the short end of the stick.
Director and writer Kenneth Lonergan, in his debut film, shows an impressive amount of intelligence not just in his directing,
but also his script. He doesn't insult the audience with idiotic speeches or ill-conceived notions of serenity - he only tells the
story of a small town that knows each other intimately whether they want to or not. Although the story is fictional, it seems as
if it could have been taken out of the lives of many people in small town America. His delicate balance between comedic
and dramatic moments in the film illustrate his understanding of everyday relationships, without reducing them to irrelevance.
The freedom of the film comes from the characters' ability to be shown at their best and worst, their vulnerability, and the actors'
willingness to explore these issues without restraint. Laura Linney, who gives the best performance of her career,
is so familiar you'd think you've known her for years. She is obviously just another mother trying to find peace and balance
in her life to give stability to her frustated son. It's a simple, yet extremely effective performance. Mark Ruffalo gives a nice
turn as Terry, a character you really never can put your finger on until maybe the film's final scene. He represents many
disillusioned 20-somethings that only want to find security and happiness, but instead usually find heartache. It would also
be impossible to ignore Matthew Broderick, who has almost completely evolved from the Ferris Bueller-type character that
defined his career for more than a decade. He has broken out with his last few roles (notably in Election), and delivers
an effectively portrayed middle manager in the midst of a midlife crisis at an earlier age than most would encounter.
You Can Count on Me is a drama, but is peppered with comedic moments at unexpected times. My favorite occurs
when Sammy is upset with Terry's ignorance of her desire to spend time with him, instead only to learn that he needs her for
money. She quickly spirts, "Why don't you just send me an invoice next time!" What a line. Frustration between siblings is
nothing new, but the accuracy of this portrayal is rare. Even though they are at odds for most of the film, they still seem to
be there for each other when it really counts. You Can Count on Me is a simple film - it shows the joys and the pains
of everyday life of people who only want to better themselves and, in some cases, those around them. Many of the best films
ever made have these same qualities of simplicity and subtlety, and, while this film is not in that elite category, it is one
of the year's best films.
© 2000 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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