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A sister and her brother, both grown, see the world in ways that are significantly different. The divorced sister and her young son live in the small town she grew up in. These are her roots. Nothing exciting happens here, but her routine life offers security and stability. One day her brother comes to visit her. The brother is something of a wanderer, moving around from place to place, unmarried, unsettled, looking for adventure. His visit sets up a clash between him and his sister and their different life styles: one sedentary, the other nomadic. In the absence of other siblings, and with both parents dead, each counts on the other to provide familial support.

It's the kind of film a lot of viewers can identify with, because most of what happens in the film is very ordinary: babysitting, plumbing hassles, time sheets, an annoying white-collar boss ... the stuff of everyday life. The emphasis is on contemporary realism.

Both Laura Linney (as the sister) and Mark Ruffalo (as the brother) were well cast for their roles. Both do a fine job of acting. The film's dialogue is realistic and believable. The country/western music is nice, but a little surprising, given that the story takes place in upstate New York.

If there is a downside to the film it is that it gets off to a slow start. Also, the story comes across at times like a soap opera.

Since the brother and sister have no other adult family, the film's theme is the same as its title: "You Can Count On Me". The story tugs at your heartstrings, especially with that poignant ending.

Because of its relevant, contemporary premise, its character development, and the high quality in direction, cinematography, editing, casting, acting, and production design, this is a film that most viewers probably will find satisfying.

In one of the many manifestations of the power of the indie flicks during the past ten years, rebellious young Terry Prescott (Mark Ruffalo) comes to visit his sister Samantha (Laura Linney) and her son Rudy (Rory Culkin), upsetting their normal lives. "You Can Count on Me" is very much a script- and character-driven movie, a far cry from a Hollywood cliché movie. As for the characters themselves, Samantha and Rudy are quite respectable; Terry is hard to classify, as he almost seems to be wasting his life but is the sort of rebel who we all wish to be; Matthew Broderick - as Samantha's boss - made my skin crawl, and I suspect that you'll feel the same.

All in all, this is certainly a movie that I recommend, and I'm eager to see Kenneth Lonergan's next movie.

Sammy Prescott (Laura Linney) is the lending officer of the small local bank in Scottville, New York. Terry Prescott (Mark Ruffalo) is the irresponsible one who comes to town looking for money. They lost their parents at a young age and Sammy has always taken care of Terry. She has a son Rudy (Rory Culkin). She hates his father but she's coy about it to him. Bob Steegerson (Jon Tenney) is her boyfriend and Brian Everett (Matthew Broderick) is the new demanding bank manager. With Brian looking over her shoulders, Sammy is forced to let Terry take care of Rudy.

This movie works because Linney and Ruffalo can project their sibling relationship right from the start. The script brings it out of the actors from the first moment they meet. Then the movie allows these two characters to expand and show different layers. They are infinitely fascinating and compelling to the last frame.

Originally written as a one-act (which manifests itself as the eventual meeting of Terry and Sammy in the restaurant) by stage veteran Kenneth Lonergan, 'You Can Count on Me' is an amazingly realistic look at the filial dynamic and relationships that come from the breaking and separation of family.

Split from their parents at an early age, Sammy and Terry, the older and younger, respectively, are forced to rely on one another throughout their youths until Terry vanishes, travelling across the nation for a long time.

When he finally returns, Terry finds that Sammy has built a somewhat stable life for herself in their beautifully provincial Appalachian hometown with her single-mom life and her adorable son, Rudy.

'You Can Count on Me' boasts honest, believable dialogue and acting in like kind. Laura Linney's performance as the somewhat-restrained Sammy is easily her best, and Mark Ruffalo's as Terry is also highly evolved. The beauty of this film is that there are literally hundreds of places for the plot or action to derail and become an emotional sap-fest ripe with over-dramatic exclamations, but it stays right on track, always honest, brutal, and, ultimately, endearing.

Lonergan has hit a kind of gold mine here. Fans of his hugely successful 'This Is Our Youth' will recognize his work here, as 'You Can Count on Me' is obviously kith and kin to it.

Do not expect breath-taking special effects. Do not expect dramatic exlcamations or exposition. Do not expect the typical or mundane. This film is extraordinarily truthful in its telling of the boundaries we build for ourselves and the ones we love.

I almost didn't know anything about this film, but when it came out on DVD, a lot of critics recommended it, so I checked it out. And - wow! A real little gem of a movie that perfectly blends drama and comedy.

The story may be slight (to say the least), it's basically just a couple of days in the life of a sister and her brother, and the people around them in a small town. No real beginning, and no real end, but a fantastic, original script, and some really great acting. Mark Ruffalo and Laura Linney (she gives one of the best performances I've ever seen on film) are both extremely likable despite their characters' flaws, and it fun to see Matthew Broderick in a different kind of role for him.

A film about ordinary people, living ordinary lives, all done in a near flawless way. Great script, direction, and acting - that's something you don't see every day, so make sure you see this one.

Not all stories need a crisis for the characters to resolve or an issue to press to be compelling. Some stories are just slices of our workaday worlds, packaged and presented in such a way as to entertain us. "You Can Count on Me" is one such story, and its cinematic telling results in one of the best movies of 2000.

The story's protagonists are two siblings, Sammy (Laura Linney), a divorced, single mom living the middle-class life in her small up-state New York hometown, and Terry, her foot-loose, presumed screw-up, brother. Apparently, he rarely visits, but when he does its because he wants something, usually money. "You Can Count on Me" recounts one such visit. That's about it plot-wise. But the movie looks deeper into their lives; Terry's impact on Sammy's 8-year old son, Sammy's relationship with her old boyfriend, and her new boss, Terry and Sammy and their differing expectations of one another.

I hope this doesn't sound boring, because it's not. The movie illustrates these lives and relationships without Freudian analysis or angst. Things are what they are, and it's a treat to share them.

The acting was excellent, pacing was OK. But the plot had some big holes and seemed sort of scrunched together at times. Where things did not fit, they just mashed them together. This could have been a really fine movie, but for the lack of true quality editing and writing. Also the lead character just starts jumping into bed with guys with no obvious or likely motivation...highly doubtful the way she is portrayed. An enjoyable movie, but not in the top tier by any means.

It's like a breath of fresh air to see a drama driven by characters rather than by a typical Hollywood plot. If this were any other drama, someone would get cancer, the little boy would go missing, the stars would look like supermodels, and the characters would talk with a screenwriter's emotional phrase. Here, the characters think, act and talk like real people. They could be us. That's the genius of this movie. If you want fantasy, don't see this film. If you want to be touched by great acting and a wonderful plot that shows the complexities of human relationship, see this film. This isn't Terms of Endearment, Steel Magnolias or One True Thing. This is real.

This movie centres on a brother and sister. Samantha lives in a small town going through the routine of life, when suddenly she finds out her brother Terry is coming to visit again after a long absence. However, we soon find out from these 2, that not everything in their lives are perfect.

This movie has the most engaging characters I have ever seen. The two actors, Laura Linney and Marc Ruffalo, I could have just sat and listened to them all day talking about their lives. It is that good. Marc Ruffalo has this charisma and screen presence and makes his character come alive like no other person I have seen on film 'ever'. These people are so real in this film it is unbelievable.

The movie is charming, witty, heartwarming, unpredictable, VERY funny, and so great. You leave the theatre wondering what well become of these 2 and their trials, and they seem like people you know. The great thing also is the film is not sappy, or has predictable plot holes, or a serious climax that you are waiting for to erupt. It just unfolds so perfectly.

Great film (must see)

10 out of 10

Laura Linney's performance is wonderful and worth every minute of this minor masterpeice melodrama set in upstate New York.

With her immature brother on one side and her over-eager, sexually dominant boss on the other, Sammy Prescott has a lot on her plate in life. For desert we can all enjoy her little boy, Rudy. Rory Caulkin and director Lonergan deserve special kudo's for bringing in "best performance" by a child-actor in years! Caulkin underplayed his role as the eight-year old caught in the windstorm of his uncle's return to his small hometown, making the character very beleivable and a child's role not designed for the pity applause meter. Uncle Terry and little Rudy's interactions are a movie all in itself.

It is a bit melodramatic and at moments I was expecting commercial breaks. Somewhat akin to an afternoon soap. However, the story is never predictable and the actors co-exist in almost perfect tune.

I rated 7/10 and it would have been higher but the plot has lags in it. Most notably, Sammy and Terry's parents demise at the begining of the film appears to have little bearing on the rest of the piece. I had questions in my mind watching and waiting, wondering how these two had grown up. The other was Terry's ability to find employment and how this issue was never addressed. Both of these "goofs" (perhaps)should not keep anyone from enjoying this little masterpiece.

I look forward to more of Lonergan's work as well as Linney and Caulkin.

you can count on me is a truly refreshing movie. the most enchanting aspect of the movie is its true to life characters and brilliant acting.

the characters are human, there are no angels here, no evil devils - just real people, with real failings and real weaknesses, real moments, real feelings, real warmth, real stupidity ... you can count on me is a simple story that is beautifully told. a romantic movie, a family movie, a warm movie about human relationships, the complexities and the tender moments in between.

this is an absolutely pleasant movie that has no corny moments, the background score is terrific, the acting is brilliant especially laura linney is quite extraordinary. there are many funny scenes in the movie, the movie is well-paced and the script well brought out, the dialogs are enjoyable. a truly fine movie.

absolutely recommended for people who are pretty bored of the big budget fake hollywood scripts, with their outwordly characters. this movie is close to the heart.

a refreshing 9!!

This movie just didn't do it for me. I was trying to understand Sammy (Laura Linney), trying to feel her, but I could muster no (censored)s.

Sammy was a single mom with a young son. She was at odds with her boss Brian (Matthew Broderick) until she started boning him. Did I forget to mention he was married with a pregnant wife? Oh yeah, there's that. But the three of them were all good church-going folk.

When Sammy's brother Terry (Mark Ruffalo) came on the scene he only complicated things for her. He was an all around screw up and he brought his screw ups to the little town of Scottsville.

"You Can Count on Me" is one of those middle-aged-woman-is-confused-about-her-life movies and we're all supposed to laugh with her, cry with her, and cheer for her to get it together, have her epiphany, or whatever is considered a win in these types of movies.

A quick glimpse at others' comments here confirms what I suspected when I finally caught this flick on video myself -- it is something of a Rorschach test for viewers. I notice that there are people who absolutely identify with Laura Linney's character, Sammy, and others who completely see the film from the point of view of Mark Ruffalo's character, Terry. I think this is a sign of a good film. I myself was prepared to dislike Terry because he seemed such an obvious mess, but the film allows him his own point of view that you come to respect. And I am not a religious person at all -- in fact, I have major issues with organized religion -- but I was impressed with the even-handed, sympathetic treatment of religion here, and also of small-town life -- both very rare in American movies. The cast is uniformly good -- in addition to everybody mentioned in others' comments here, I'd single out Jon Tenney as Sammy's well-meaning, on-again off-again boyfriend -- but Linney was simply phenomenal. See this, if only to see how *you* react to it.

Kenneth Lonergan's new film was a big hit (and winner) at the Sundance festival, and rightfully so. Not only is this one of the best films of the year, it is also one of the best (if not the best) films ever made on families, especially siblings. Laura Linney and Mark Ruffalo play a sister and brother who have parted ways for some years, but when the brother who is a drifter comes back home to her sister's (now a single, flawed mom), things very deep come in. Like Pay It Forward, this film brings deep feeling in family matters brought on by good acting, writing and direction. One flaw: the boom mike appears so much during the scenes, it's a wonder that the boom mike guy wasn't in the film just as a bad plot device; otherwise a must-see. Performances by Linney, Ruffalo, Matthew Broderick (as Linney's boss) and a intro performance by Rory Culkin (brother of Macaulay and Kiernan) as Linney's son make this a winner in more ways than one. Director Lonergan appears as a preist Ron. A+

Kenneth Lonergan's script is so poignantly observant that I couldn't help but be impressed by this relatively quiet drama, one that focuses on a mostly overlooked relationship in movies, the delicate connection between brother and sister during their adult years. The story begins abruptly with the auto accident deaths of the main characters' parents, a life-altering incident that serves as the catalyst for all the failures both children experience later in their lives. Of course, the siblings become a study in contrasts. The brother Terry is a drifting ne'er-do-well who refuses to be entangled in anything resembling responsibility since it means he needs to make an emotional investment. His sister Sammy is the polar opposite, a controlling perfectionist who stayed on in their hometown to make an orderly life for herself and her son. It's the only means she knows to insulate them from complications that would force her to question her existence. She holds down a respectable but dull job as a lending officer at a bank, keeps a well-intentioned suitor at arm's length and continues to hope for a male role model for her lonely son. When Terry comes to town for a visit, the fulcrum of emotions felt by both characters seems so real that it makes the episodic nature of the film seem all the more cohesive and touching. It's a remarkable achievement for Lonergan, who makes his feature film directorial debut with this film. He even plays a small role as the deadpan local minister who seems to be satisfied dispensing advice in a vacuum.

The acting by the leads is superb. In his first major role, Mark Ruffalo captures the ramshackle nature of Terry with an effective mix of child-like innocence and restless bravado. Ruffalo provides heart to a basically unsympathetic character without compromising the emotional inertia that drains everyone around him. But I have to hand the picture to Laura Linney, who is letter perfect as Sammy. Her porcelain looks and pinched demeanor provide a veneer for an emotionally fragile woman who is conflicted about not only her brother but her entire existence as she starts to feel it unravel. The scenes between these two actors are consistently wonderful. Best among them are the lunch scene where her excitement in seeing him quickly turns to disappointment when she realizes the true purpose of his visit; the amusing pot-smoking scene on the porch when she confesses the adulterous affair she's having with her boss; and the heartbreaking goodbye when she realizes how much she needs him in her life regardless of the pain he inflicts. Rory Culkin plays Sammy's son Rudy with quiet maturity, and the interplay between Culkin and Ruffalo is well handled as it becomes apparent that the death of Terry's parents has actually made him the same emotional age as Rudy. In a supporting role, Matthew Broderick plays Sammy's boss with the smarmy, honey-toned pretension at which he has become a master, and he is the impetus behind the hilarious scenes at the bank, which take on a Dilbert-esquire flavor with pinpoint accuracy. Twangy country songs provide a comic counterpoint to the illicit scenes between him and Sammy.

I really like this film and look forward to seeing what Lonergan will do next. The DVD includes a short documentary, which includes interviews with Lonergan, Linney and Ruffalo. Strongly recommended especially for those who have danced precipitously between love and anger with their families.

A quality movie with great performances. Don't get put off by the seemingly bland storyline (a brother and sister, bereaved of their parents, grow up very differently; havoc ensues when the brother comes to stay with his single-mother-sister and her son). Laura Linney turns in a well-deserved Oscar-nominated performance and the script distinguishes itself throughout - mostly for what is left unsaid rather than actually spoken. Characterisation is not only convincing but draws us in because of the very lack of perfection of the characters - these are people with their faults trying to do their best - in very different ways.

This is a great film. It wasn't flashy or sensationalistic, like so many of its peers are when they need to get a point across. Instead it was intelligently written, and superbly acted.

There is a quality about this film in which the viewer feels compelled to relate to the characters, and what they are going through, even if the viewer has never shared any of those feelings.

Laura Linney, gave a great performance. She should have been given the Oscar runner up (behind Ellen Burstyn of course). To me she was a good person, trying to be a great role model for two kids that she needed to be. Her dedication in parenting her son, and in some regards her wayward brother compel her to lose grip on other elements around her (her work and love life). Mark Ruffalo was also brilliant. He brought about the sense of lack of direction that so many of us feel, better than anyone that I can remember. When on screen at the same time, Linney and Ruffalo were great. I love to see it when two great actors complement each other, instead of one out shining the other. The scene that the two share in the restaurant near the beginning of the film is an absolute gem.

I would recommend this film to anyone. I found it to be a very worthwhile and rewarding film. I give it a 9/10

A single mother (Laura Linney)'s life is thrown into turmoil after her struggling, rarely-seen younger brother (Mark Ruffalo) returns to town.

This is a pretty simple story grounded by some solid acting. Mark Ruffalo never fails, and is one of the best actors working today. Sooner or later everyone will recognize him for the genius he is. Laura Linney, likewise, is incredible, and far bigger than she is generally given credit for. We also get Rory Culkin, and that is not a bad thing.

Unfortunately, the casting of Matthew Broderick just kills this picture and drops it down a notch. Broderick works well in certain roles, but this is not one of them. He just comes off as too chipper, too nice and it does not line up well with the character he is portraying.

Let me 1st say I feel this film was well done and the actors did a good job portraying their characters (and their lack of character). I hated watching this movie because the brother was such a jerk to his sister and nephew.

Though I could understand where Terry's problems originated, I really didn't care. Terry had some good points, but his bad points outweighed everything else. He belittles and humiliates the boy, swears in front of him on a regular basis, breaks promises, (when he changes his mind about going fishing-deciding to take his nephew after all-the sister looks at him as though he's an angel sent from above!), shoves his nephew in the face of the father he's never met, and then grinds his poor little face in the fact that his real father is a total loser. I call this abusive.

If I were the sister, I would have thrown him out (with NO REGRETS) the night he took the boy to the bar. And would have HAD to physically assault him over the father incident, at least putting him in the hospital for awhile. The mom was irresponsible toward her son. She knew her brother was unstable but still allowed him to babysit and influence her son. Just because they're screwed up doesn't mean the little boy should join the crowd.

FINALLY the mom "gently" asks idiot brother to leave. Love my brother or not, he'd've had to go much sooner!! At the end of the movie Terry tells sis she's an important person in his life, and she tells him he's the MOST important person in her life. Woops - she forgot about her son. In many ways the mom was responsible toward her son, but not in this big way.

I guess this means this was a good film because I was so emotionally affected by the characters. I just wonder if anyone else felt this rage toward the Terry character... unfortunately this film is like real life in many ways. If it's not a brother, it's a boyfriend, or an abusive husband who's not her son's real father, etc.

Ostensibly a tale of redemption this movie is basically a waste of the audience's time. Laura Linney plays a successful single mother who receives with great joy the news that her rapscallion of a brother, Mark Ruffalo, is returning home for a visit. Laura's character has stayed and prospered relatively well in the town they grew up in and Mark's character seems to have hoboed around and spent more than one night in jail. Somehow he connects with her son and apparently has an epiphany and his character changes.

OH THE HORROR! The plot was weak, the dialogue was a joke, the characters were poorly drawn to begin with and had no moments of growth.

Oh wait, I know I said Mark's character had an epiphany but it made no sense and was never explained. The movie seemed to start in the middle of nowhere and ended with no resolution at all. Mathew Brodderick had what looked to be an interesting minor role for him and then just became a waste of camera time. SKIP THIS ONE!!!!