You Can Count On Me is an American drama film about the story of Sammy, a single mother living in a small town, and her complicated relationships with family and friends. The story takes place in the fictionalized Catskill communities of Scottsville and Auburn, New York. . You can read more in Google, Youtube, Wiki
You Can Count on Me
A single mother's life is thrown into turmoil after her struggling, rarely-seen younger brother returns to town.
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You Can Count on Me torrent reviews
Matt N (br) wrote: It's fun. I'll give it that. It's incredibly cheesy and cliched as well. And its bad. But, its not as bad as it could've been.
Edith N (ru) wrote: French, but Not as Weird If I've got the beginning of this film right, the woman is supposed to be about six months pregnant. We know this because she laments the idea of having to spend six weeks in bed, and the doctor tells her that pregnancy last nine months, not seven and a half. I think. It could be only seven months, which would put her five and a half months pregnant. But she is huge, and the baby has a much better chance of survival if she gives birth early than it would in real life. This, as you can imagine, bothered me quite a bit. It irritates me how seldom media gets pregnancy right, given how many chances there are to get it right. There's a Stephen King novella wherein he claims that Lamaze (though it isn't called that in-story) produces completely painless labour, which is ridiculous. I've always wondered why Tabby, who's always the first person to read his books, let him get away with that one. But the idea that even a young and healthy woman like Nadia Pierret (Elena Anaya) might end up on bed rest at the end of a pregnancy. She has a hard time taking it easy, but her husband, Samuel (Gilles Lellouche), is determined. However, while he is at work, he helps save the life of a man, Hugo Sartet (Roschdy Zem), who has been hit by a motorcycle. It turns out that Hugo is a member of a crime family, and since he's in the hospital, he won't be able to escape being arrested. In order to force Samuel to get Hugo out of the hospital and away from the police, they kidnap Nadia and tell Samuel that, if Hugo isn't freed, Nadia will be killed. And, of course, there's the risk that she will lose the baby. Samuel frees Hugo, all right, but he then sticks to him like glue to ensure that Nadia will be freed--alive. And it turns out that he's right not to have gone to the police, because the man who insists on handling the case is a bit on the corrupt side. I'm not sure I go along with certain aspects of this plot, at least not completely, but it makes a heck of a lot more sense than most of the French movies I've watched. It's a pretty straightforward thriller, all things considered. The twist of the kidnapped pregnant wife is new, but the idea of an innocent man's being forced to help a criminal in order to protect something he loves is hardly unfamiliar. Stories of police corruption are pretty commonplace. How the corruption plays out is what doesn't entirely work for me, but I'm not surprised by its bare existence. So far as I know, the French police are not as notorious for corruption as, say, those of Chicago or Los Angeles, but there is no reason to believe that they're all completely innocent. Corruption happens everywhere. The form it takes here isn't even completely unheard of. I can name a few examples of it, and they aren't all limited to countries where you just assume the cops are corrupt--or cities where you assume it, either. One of the things you're just supposed to take for granted in movies of this nature is that, when called on to do it, everyone is capable of things like leaping from rooftop to rooftop and standing off against armed thugs. This is not a Weird Damn French Crap trope; it's an action movie trope that appears to be independent of country of origin. I've seen it in movies made from the US to France to Korea. The person in the unusual situation still knows exactly what to do. It isn't a [i]Bourne Identity[/i] kind of thing, where Our Hero has amnesia and had actually once been trained for that sort of thing. It's implied that everyone--male or female--has that inside them, and when the moment arises, they will know what to do. Somehow, I suspect that this is seldom actually true. I think people who have watched too many action movies just end up getting themselves hurt in the unlikely event that they end up in this kind of situation at all. Still, I enjoyed this movie inasmuch as I ever really enjoy action movies, which I must confess isn't a whole heck of a lot. I will say that what happens to Nadia throughout the picture is almost enough to make me doubt that she really needed to be put on bedrest in the first place. She goes through a lot over the course of the movie, and I think it's just about enough to send any woman into a miscarriage or premature labour or whatever you want to call it. I do like that they show a woman who has no compassion for another woman's pregnancy. We're considerably more used to the stereotype of the sisterhood of women. All women are sympathetic to all other women's problems, kind of thing, and that simply isn't true. Let's leave aside the existence of sociopaths, which we shouldn't. I'm not sure women are any more likely to sympathize with one another than men are, even though I think we like to think they are. That's one thing this movie does get right.
Sarah P (us) wrote: Not really Christmas-y enough for me. It was more like an after-school special for tweens.
Nate W (ag) wrote: The disillusioning inability to reach the American Dream underlies John Huston's "Fat City", one in a line of pessimistic human interest dramas from the early 70s (including the likes of "The Last Picture Show", "Coming Home", and "American Graffiti") that tapped into America's dour consciousness following the Vietnam war and the death of the 60s. But while those films were ushered in by the fresh New Wave of American filmmakers, Huston had worked his entire life from the old Hollywood system, and his ability to keep in step with the times (both tonally, thematically, and aesthetically) demonstrates a remarkable maturity and willingness to evolve as an artist that few filmmakers possess. The characters who try so earnestly but so fruitlessly to escape their sad little lives in hopes of achieving a bit of happiness are superbly performed by a talented cast, including Stacy Keach as a washed up boxer attempting a futile comeback, Jeff Bridges as a rookie whose promising career meets early disappointment, and Susan Tyrell as a pathetic alcoholic who keeps returning to a life of abuse because it's all she knows. What any other filmmaker would have made either melodramatic or (even worse) bland and banal, Huston manages to make a rich yet sobering examination of the human condition.
Jens T (ru) wrote: "Yeah, I'm a tramp, and who's to blame? My Father. A swell start you gave me. Ever since I was fourteen, what's it been? Nothing but men! Dirty rotten men! And you're lower than any of them. I'll hate you as long as I live!" Ten years before Barbara Stanwyck portrayed the legendary femme fatale Phyllis Dietrichson in Double Indemnity, she played the exact same type of woman in Baby Face. The only difference is that here Stanwyck is the protagonist, the character we emphasize with, no matter what she does, and I think I love this Barbara better, who's even hotter, sexier and with a stronger independent attitude.Baby Face is the story about Lily (Stanwyck), who has lived with her abusive father her whole life, working as a prostitute since she was 14-years-old, in her father's speakeasy in Erie, Pennsylvania. But one day her father is killed in a still explosion and Lily is finally a free woman. She has no idea of what to do next, but one of her closest friends, an old cobbler tells her that she as a young attractive woman has the gift that no man has, that she have to use men to get what she want. Lily and her black co-worker, Chino then goes to New York and applies for a job at a bank, where Lily sleeps her way to the top. Baby Face is a so called pre-code movie, which means it's was made before the Hays code kicked in, in 1934. A moral censorship, which forbade to show any kind of violence or nudity or emphasize with the criminals. Baby Face is the definition of pre-code movies. With a lot of sexual overtones of prostitution and adultery. Even Lily's father was her pimp. My favorite scene in this film must be the scene where Lily and Chico hops on the train to New York, but a railroad worker catches them and threatens them with jail. But Lily is calm, and she closes the door, she lies down in the hay. Then cut to the floor where the worker's gloves is thrown down, next to a lantern that is blown out. What a seduction.This is certainly one of Stanwyck's greatest and sexiest performances. Playing a strong woman character who have what "it" takes to get "it", as a trailer for this film says. We emphasize with her, no matter what terrible things she does. But of course we see the damages she causes, all the hearts she brakes. She even turns down a young John Wayne who have bought theater tickets. She only wants men with power and money, that sometimes has fatal consequences. I guess we can call her a femme fatale after all. Plus it doesn't need to have a negative meaning. She's simply a product of the male dominance. Which certainly is something more fascinating than telling this from a man's point of view. Even though Baby Face as a "Hollywood Ending" it's something I choose to ignore, even though I think it would have closed the deal by having a dark ending. I just have to accept that it was a different time back then, and Baby Face pushed the limits back then, which is what I love about this film. Thumbs up.
Derek M (it) wrote: "Obvious Child" is hilarious, raw and refreshing... anything but obvious. Jenny Slate is tremendously well-rounded, believable and hysterically bitter as Donna, the broken and twisted and (a little too) alcohol dependent mess stuck in a late-20-something-I-don't-know-what-to-do phase. "Obvious Child" is the indie gem of the year.
Ian S (it) wrote: Disaster flick with the rock as lead..city gets obliterated by earthquake