You Can Count On Me (2000)
You Can Count On Me (2000)
Critic Consensus: You Can Count On Me may look like it belongs on the small screen, but the movie surprises with its simple yet affecting story. Beautifully acted and crafted, the movie will simply draw you in.
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Critic Reviews for You Can Count On Me
The key to Lonergan's success? He has faith in the intelligence of his audience. It's that simple -- and encouraging.
I never thought I would say this, but I am starting to think that Laura Linney may, in fact, be a very good actress.
This funny and involving film presents its well-drawn characters to us pretty much the way we would encounter them in life.
It is visually flat and uninteresting and too often feels like a (leisurely paced) filmed play.
So timid and clumsy in its deployment of picture, sound, and editing that you have to wonder if executive producer Martin Scorsese bothered to give notes.
Audience Reviews for You Can Count On Me
Crazy that this film is 11 years old. I enjoyed it and it was great to see all these actors in this film. It was touching and real. It's a movie everyday people can relate to; feeling lost in life and still managing to go through everyday finding a way to try and make it better anyway possible.
A troubled traveler lives with his sister, who is a single mom struggling with bad relationships. This is a subtle, deft character study that features strong performances by the two leads. Laura Linney's trademark awkward strength -- exhibited here by her clearing a nightstand, everything crashing to the floor, then silently wondering if she did it correctly -- is on full display as well as her moments of giddiness, similar to the staircase celebration in Love Actually. Mark Ruffalo plays the troubled rebel well. I did think the film's pacing was too slow at points. And there are some moments in the narration when I wondered if the film had a thematic purpose. It doesn't; we just get to know some people during the film's two hours. An example of the film's stuttered narration: I didn't see the motive for Sammy to bring in the priest to talk to her brother, and the first scene had very little to do with the rest of the film. Overall, it's great to see a good character study, but a well-constructed story following it is missing from this relatively strong film.
I can feel the title emanating off of every move Laura Linney and Mark Ruffalo make.
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