Tu peux compter sur moi

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.

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.

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.

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.

How could anyone call this film the worst they've seen in years? The acting wooden, the characters uninteresting???? "You can count on me" is storytelling at its finest. It should've won best screenplay because Lonergan's writing and directing is pure, honest and engaging. Ruffalo's acting was superb as was Linney's. Definitely a pleasure to watch.