Manchester by the Sea, featuring the highly praised performance of Casey Affleck, is the “best movie of the year,” states Rex Reed, New York Observer. And as of this writing it’s a rarely seen 8.5 on IMDB and 97% on Rotten Tomatoes.
Although I found it to be longish, slowish, and above all utterly sad—the latter of which was repeatedly attested to by Affleck himself in his recent and humorous SNL monologue—it’s certainly worth seeing.
Basic info about Manchester by the Sea from A.A. Dowd, AVClub:
Casey Affleck, in the great internal performance of his career, plays Lee Chandler, a withdrawn handyman scraping by in Quincy, a suburb of Boston. Lee is the kind of miserable bastard who’d rather sucker-punch a stranger at the bar than go home with the beautiful woman trying to pick him up. Who is this broken man? What eats at his heart and swims behind his eyes? The questions hang like storm clouds over the early scenes, a solitary life told in odd jobs and punchlines: Lee shoveling snow, Lee screwing in a lightbulb, Lee unclogging a toilet for a tenant who has the hots for him. Frances Ha editor Jennifer Lame gives this opening passage a certain comic pop, until a phone call sends Lee racing to his hometown of Manchester By The Sea—but not fast enough to say goodbye to his older brother, Joe (Kyle Chandler), who’s just died of the degenerative heart condition he’s been afflicted with for years…
Lee becomes legal guardian to his 16-year-old nephew Patrick (Lucas Hedges). April Wolfe, Village Voice:
That prompts a string of flashback sequences, where Lee seems an altogether different man; he’s jovial, physically affectionate, has a wife (Michelle Williams) and three kids. The impact is immediate — we now understand that something has happened to make him so cold, and it certainly cannot be good…
Rex Reed, New York Observer, regarding Patrick:
It’s wrenching to observe the values of a boy too young for a driver’s license, sensitive, witty and highly intelligent enough to cope with his father’s death and the challenging alternative of living with a neurotic, estranged mother (Gretchen Mol) who lives in Connecticut with her emotionally blocked and religiously obsessed second husband (Matthew Broderick).
The Trailer for Manchester by the Sea
A.O. Scott, New York Times: “It’s a masculine melodrama that doubles as a fable of social catastrophe…”
Matt Zoller Seitz, rogerebert.com:
It’s a story about the complexity of forgiveness—not just forgiving other people who’ve caused you pain, but forgiving yourself for inflicting pain on others. It’s a story about parenting, of the biological, foster and improvised kind. And it’s a portrait of a tightly knit community that depends mainly on one industry, fishing, and that has evolved certain ways of speaking, thinking, and feeling.
A.A. Dowd, AVClub: “Are there experiences so crushing that they ruin you forever? That’s the big question Lonergan asks, and we wait hopefully for a charitable answer.”
Kenneth Turan, Los Angeles Times: “…heartbreaking yet somehow heartening, a film that just wallops you with its honesty, its authenticity and its access to despair.”
Rex Reed, New York Observer: “…a triumphant exploration of the way real people think and feel about grief, loss, love and survival that will stick in your gut and cling to your heart long after the final frame fades to black.”
Andrew Lapin, NPR:
…a sprawling work that revels in its messiness, because being uncertain and uncomfortable and not knowing whether to laugh or cry when something happens is the real grist of humanity. One of the film’s final lines is ‘Do we have to talk about this now?’ But that’s what Manchester captures so beautifully about life: it’s a series of difficult conversations we’d rather avoid, about death and family and responsibility, and the ones that matter are with the people we love, or once loved, or will learn to love someday…