You Can Count On Me's Recent Activity

list You Can Count On Me's Recent Activity - Spout http://www.spout.com/ Recent community activity around You Can Count On Me on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg You Can Count On Me's Recent Activity - Spout http://www.spout.com/ 136 30 Film:You Can Count On Me http://www.spout.com/films/You_Can_Count_On_Me/140774/default.aspx

Title: You Can Count On Me
Year: 2000
Director: Kenneth Lonergan
Plot: Kenneth Lonergan, the co-screenwriter for Analyze This (1999), makes his directorial debut with this sensitive portrait of a pair of grown siblings. Sammy and Terry Prescott (Laura Linney and Mark Ruffalo) were orphaned as children after their parents were killed in a car accident. Since then, the two have taken drastically divergent paths. Sammy is a single mother who leads a quiet, stable life in a small town in upstate New York. A fiercely protective mother, she shields her young son Rudy (Rory Culkin) from all information about his absentee father. She is also involved with Bob (Jon Tenney), a well-meaning but less-than-exciting mate, both in and out of bed. Terry, by contrast, is a troubled, self-destructive soul eking out a nomadic existence. When he abandons his pregnant girlfriend to borrow money from his sister, Sammy finds her stable world disrupted. A bond soon develops between Terry and Rudy; over the objections of his mother, Terry takes the tyke fishing and shares old family secrets. Meanwhile, Terry's presence inspires Sammy to break out of her quiet life. This film won the Grand Jury Prize at the 2000 Sundance Film Festival. ~ Jonathan Crow, All Movie Guide
Times Tagged: 3
Number of Lists: 11
Number of blog posts: 1
SpoutRating: 4
]]>Wed, 25 Jun 2008 02:04:47 GMTYou Can Count On Me2000Kenneth Lonergan<a href="/players/P___267377/default.aspx" style='text-decoration:underline'>Kenneth Lonergan</a>, the co-screenwriter for <a href=/films/131354/default.aspx style='text-decoration:underline'>Analyze This</a> (1999), makes his directorial debut with this sensitive portrait of a pair of grown siblings. Sammy and Terry Prescott (<a href="/players/P____42589/default.aspx" style='text-decoration:underline'>Laura Linney</a> and <a href="/players/P___197651/default.aspx" style='text-decoration:underline'>Mark Ruffalo</a>) were orphaned as children after their parents were killed in a car accident. Since then, the two have taken drastically divergent paths. Sammy is a single mother who leads a quiet, stable life in a small town in upstate New York. A fiercely protective mother, she shields her young son Rudy (<a href="/players/P___281362/default.aspx" style='text-decoration:underline'>Rory Culkin</a>) from all information about his absentee father. She is also involved with Bob (<a href="/players/P____70267/default.aspx" style='text-decoration:underline'>Jon Tenney</a>), a well-meaning but less-than-exciting mate, both in and out of bed. Terry, by contrast, is a troubled, self-destructive soul eking out a nomadic existence. When he abandons his pregnant girlfriend to borrow money from his sister, Sammy finds her stable world disrupted. A bond soon develops between Terry and Rudy; over the objections of his mother, Terry takes the tyke fishing and shares old family secrets. Meanwhile, Terry's presence inspires Sammy to break out of her quiet life. This film won the Grand Jury Prize at the 2000 Sundance Film Festival. ~ Jonathan Crow, All Movie Guide3Slightly Tagged (1-5)1114http://www.spout.com/ProductImages/t11751oy85q.jpghttp://www.spout.com/films/You_Can_Count_On_Me/140774/default.aspxFilm Spout Post: Telluride 2007: The Savages http://www.spout.com/blogs/paul/archive/2007/11/5/21442.aspx

Post By: paul
Post To: paul on spout.com
Post Date: 11/5/2007 4:43:53 PM
Body: The rite of passage into taking responsibility of another life--having a baby--has been the topic of a lot of popular movies. We don't see very many movies about another rite of passsage, taking responsibilty over death. Specifically, the death of a parent. Prenatal wards are fun, nursing homes are not. The death of a parent brings far more complexity and reflection. So, when I saw the logline for Tamara Jenkin's new film, The Savages, I thought this is a movie that will either be great or awful. Wendy (Laura Linney) and Jon (Philip Seymour Hoffman)--both struggling playwrites--are unexpectedly given the responsibility to care for a father (who was not much of a father) as he suffers from dementia in his last few months of life. I don't know if it's an easy film to connect to if you're not somebody who has admitted a parent to a nursing home. Or if you don't have siblings choosing divergent paths in dealing with a tragi-family. But if you fall into one of those two categories, The Savages is a really rich movie, and it's full of dark humor you have to develop when things aren't funny. (Linney and Hoffman have unexpectedly amazing chemistry to pull this off.) It was a good decision on Jenkins' part to not spend any time in flashbacks or expository dialogue about back story. She stays in the present and let's the past weigh on Linney and Hoffman's faces as they try to reconcile their guilt over caring for a father they'd rather just be dead. That way I didn't feel like the movie was asking me to get sad. I was given the freedom to project my own life on it. I got to wonder what I'll do in their situation and be surprised by what they do. If it sounds like this is a character Laura Linney has played before, she has. The movie is like You Can Count on Me tens years later. Linney again plays an aging woman with no career success who latches on to men who are beneath her. But I don't mind her reprisal of other characters. I like her desire to play in small family dramas where the victories are subtle and the relationships complicated. But these are movies I can't really call great or awful. The truth is, if you connect to it, the pay off of The Savages is good medicine. It's taking time to think about something most of us would rather avoid: The dark, silly, funky feelings family brings up.
]]>Mon, 05 Nov 2007 21:43:53 GMTpaulpaul on spout.com11/5/2007 4:43:53 PM The rite of passage into taking responsibility of another life--having a baby--has been the topic of a lot of popular movies. We don't see very many movies about another rite of passsage, taking responsibilty over death. Specifically, the death of a parent. Prenatal wards are fun, nursing homes are not. The death of a parent brings far more complexity and reflection. So, when I saw the logline for Tamara Jenkin's new film, The Savages, I thought this is a movie that will either be great or awful. Wendy (Laura Linney) and Jon (Philip Seymour Hoffman)--both struggling playwrites--are unexpectedly given the responsibility to care for a father (who was not much of a father) as he suffers from dementia in his last few months of life. I don't know if it's an easy film to connect to if you're not somebody who has admitted a parent to a nursing home. Or if you don't have siblings choosing divergent paths in dealing with a tragi-family. But if you fall into one of those two categories, The Savages is a really rich movie, and it's full of dark humor you have to develop when things aren't funny. (Linney and Hoffman have unexpectedly amazing chemistry to pull this off.) It was a good decision on Jenkins' part to not spend any time in flashbacks or expository dialogue about back story. She stays in the present and let's the past weigh on Linney and Hoffman's faces as they try to reconcile their guilt over caring for a father they'd rather just be dead. That way I didn't feel like the movie was asking me to get sad. I was given the freedom to project my own life on it. I got to wonder what I'll do in their situation and be surprised by what they do. If it sounds like this is a character Laura Linney has played before, she has. The movie is like You Can Count on Me tens years later. Linney again plays an aging woman with no career success who latches on to men who are beneath her. But I don't mind her reprisal of other characters. I like her desire to play in small family dramas where the victories are subtle and the relationships complicated. But these are movies I can't really call great or awful. The truth is, if you connect to it, the pay off of The Savages is good medicine. It's taking time to think about something most of us would rather avoid: The dark, silly, funky feelings family brings up. Spout Tag:family http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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