An uncle is obliged to return home to care for his nephew after his brother dies. Not knowing that he has been named guardian, he struggles with the decision. Throughout the movie he recounts past memories that caused him to leave Manchester and distance himself from his past.
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When you're the one that sets (accidentally) your own house, your HOME, your OWN HOME (your heart) ablaze, 'cause you always felt like a washed-out, good-for-nothing loser and you felt nothing but self-pity for you. The weight of "had it al"+having lost it all, killed dead, for good, the Only thing you ever had in your life. You had a life. You HAD a life; now you don't. You burnt it to the ground. This is on you.</3
MBTS Feels incredibly personal and boldly uncaring about commercial film expectations. Affleck is absolutely believable and while the film plods a little in the middle the final third is deeply rich, emotionally challenging material. Fierce. 4 stars
Casey Affleck drives the plot. After the ending, his character continues to haunt you even when you're far away from the movie theater. He plays a truly disturbed human being and his performance is one for the books.
LES PETITS MOUCHOIRS, US version.=== Again small deserted harbours & sad beaches. Here's Albinoni's Adagio in case we didn't get it's the melodrama of the year. Music, editing, story: a sinking. === Encore 1 petit port glacé & 1 plage tristounette. Et revoilà l'Adagio d'Albinoni au cas où l'on aurait pas capté qu'il s'agissait du mélo de l'année. Musique, montage, histoire: 1 naufrage. **** for Casey A & Michelle W.
No amount of Shakespearean tragedies I learnt and/or heard from Wikipedia pages can prepare me for this Lonerganian one. Every characters in this picture (shout out to Lonergan by using that exact word, 'picture') walks ever so slowly, always looking down on the street, as if they knew, that the queen mother of all the tragedies that happened in this tragedies-filled-orgy is that life goes on. Still wrecked.
The cinematography is lovely, Affleck's understated approach feels very raw and real, and in a couple of scenes the soundtrack is so powerful. However Michelle Williams deserved more screen time - at least to justify that oscar nomination! - and the young boy is simply too annoying, he even reminded me a bit of Anna Paquin's role in "Margaret", Lonergan's previous work. It's a decent film, but no more than that.
This was an interesting and unique approach to the grief drama that Hollywood seems to adore so much. It has its intense and moving moments, but the cynicism sometimes felt out of place. I'm intrigued to watch Margaret now.
Where Casey proves he is the true Sad Affleck. Lonergan paints Manchester as the sort of town where the dead have a lucky escape: everyone left behind is broken, forever - "I can't beat it," Lee ultimately concludes. Everyone deals with grief in different ways (e.g. Patrick's apparent nonchalance). It loses a star for the unnecessary peripheral characters, plus I confess I was oddly unmoved.