For all the bullying inspirational slogans hurled at us about never giving up on your dream, following your bliss and today being the first day of the rest of your life, the fact remains that most people’s lives run on fairly narrow tracks. And in the real world, as opposed to self-help fantasyland, once you find yourself on a track, it’s awfully hard to get off, even if it’s headed nowhere in particular. Stephen Holden, reviewing You Can Count On Me, The New York Times,
On the occasion of the underseen film The Skeleton Twins (see previous post) being released on DVD, I thought it would be appropriate to highlight another brother/sister film, the character-driven You Can Count On Me, written and directed by Kenneth Lonergan. Not only was it one of the best movies of 2000 but also one of the best ever about sibling relationships.
In brief, single-mom Sammy Prescott (Laura Linney), gets an unexpected visit from Terry (Mark Ruffalo), her brother and only sibling. FYI, their parents were killed in a car accident when they were kids.
Emanuel Levy, Variety: “Married and divorced at a young age, she’s an overprotective mother to her 8-year-old son, Rudy (Rory Culkin). Sammy conceals from her son any info about his absentee father, but the curious, susceptible boy stubbornly harbors romantic notions about him. Her emotional involvement with Bob (Jon Tenney), a goodhearted but not terribly exciting man, only partially fulfills her needs as a woman.”
Desson Howe, Washington Post: “…(S)he’s having trouble with her nitpicking boss (perennial manchild Matthew Broderick), who’s unsympathetic toward her child issues and objects to such things as purple-colored text on computer screens.”
Stephen Holden, New York Times: “Ms. Linney’s Samantha may be a responsible mother and churchgoing Catholic, but we learn that she was a wild teenager who has had to choke back her rebellious instincts in order to bring up her son. Even now, her innate rebelliousness still manifests itself in ways both small (she secretly smokes cigarettes) and large (she recklessly initiates an affair with her new boss, a persnickety straight arrow with a pregnant wife).”
Roger Ebert, rogerebert.com: “Terry is her easy-come, easy-go brother, one of those charmers who drives you nuts because you love him but you can’t count on them.”
Emanuel Levy, Variety: “He’s depicted as an irresponsible, self-destructive man with a penchant for getting into fights and being arrested. Leaving a pregnant girlfriend behind, Terry comes home to borrow money.”
Lisa Schwarzbaum, ew.com: “He has pushed away grief by not committing anywhere, to anyone, and strewing mess in his wake.”
TERRY AND HIS NEPHEW RUDY
Desson Howe, Washington Post: “Sammy, who needs someone to watch Rudy, talks her brother into doing the honors. But although Terry connects wonderfully with Rudy, his idea of child care is hardly gleaned from Dr. Spock. He thinks nothing of lighting up a cigarette, cursing like a sailor and advising Rudy to get the hell out of Dodge as soon as he’s old enough.”
Stephen Holden, New York Times: “The culminating event, an excruciating, brilliantly executed scene of emotional chaos as old personal wounds are ripped open, is Terry’s impulsive, ill-advised decision to take Rudy on a surprise visit to meet his roughneck biological father (Josh Lucas) whom Samantha has built up as a hero to the boy.”
SAMMY AND TERRY
Stephen Holden, New York Times: “Samantha is furious and disappointed by her brother’s lack of direction and behavioral sloppiness. He in turn is contemptuous of her for remaining stuck in Scottsville, whose small-town atmosphere he finds suffocating.”
Carla Meyer, San Francisco Chronicle:
As adults, the siblings maintain their childhood confidant-adversary relationship. In one scene, they share a joint and a big secret before a casual remark turns into a testy exchange about Sammy’s parenting abilities. Later, when Sammy sends a clergyman to counsel the aimless Terry, he seems receptive, all the while plotting revenge on his sister. Just as any kid brother would.
The safety of their renewed family bond lets each sibling branch out. Sammy, so compulsively organized that she files personal correspondence along with her tax returns, rediscovers a wild side and engages in some surprising acts. Her brother, oblivious at first to Sammy’s need for him, warms to the idea of a family bond and becomes a father figure to Sammy’s son.