(This is the usual pattern for Thanksgiving.) This Friday is Black Friday, but there's a lull on the home market with not a whole lot of great releases.
Top 2010 Limited Release Movies at the Domestic Box Office (Rank 101-200)Īll Time Domestic Box Office for Based on Real Life Events Movies (Rank 901-1,000)Īll Time Domestic Box Office for Live Action Movies (Rank 8,701-8,800)Īll Time Domestic Box Office for Factual Movies (Rank 401-500)Īll Time Domestic Box Office for Documentary Movies (Rank 301-400)Īll Time Domestic Box Office for Magnolia Pictures MoviesĭVD and Blu-ray Releases for November 23rd, 2010 Top 2010 Movies at the Domestic Box Office (Rank 201-300)Īll Time Domestic Inflation Adjusted Box Office for Limited Release Movies (Rank 2,701-2,800) Magnolia Pictures, They Are Going to Kill Us ProdsĪll Time Domestic Inflation Adjusted Box Office (Rank 9,401-9,500)Īll Time Domestic Non-Sequel Box Office (Rank 9,001-9,100) R for sexual material, graphic nudity, pervasive language, some drug use and crude content. September 10th, 2010 (Limited) by Magnolia Pictures See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records. A vibrant and very moving piece of cinema that never descends into easy sentiment and remains a very positive and life- affirming experience, despite the theme.All Time Domestic Box Office (Rank 9,901-10,000)Īll Time International Box Office (Rank 12,601-12,700)Īll Time Worldwide Box Office (Rank 15,401-15,500)Īll Time Domestic Highest Grossing Limited Release Movies (Rank 2,501-2,600)Īll Time Domestic Box Office for R Movies (Rank 3,501-3,600)Īll Time International Box Office for R Movies (Rank 2,601-2,700)Īll Time Worldwide Box Office for R Movies (Rank 3,801-3,900) There are a few rough edges and the final act may seem a superfluous addition to some but still packs a heavy emotional punch. Also assisting is a non-linear structure, which allows for some telling moments without compromising the coherence of the story. This involves the warring couple next door, who he has only previously known by hearing their arguments coming through the wall (a brilliant touch). Particularly notable is the way that Matt finds a kind of closure not through tearful reconciliations with his estranged family as you might expect but through his kindness to strangers. But it's the naturalistic writing and atmosphere that allows story and cast the room to really breathe and fuels the subtleties of this quietly affecting drama. The design of the title sequence is also extremely impressive. The music soundtrack is excellent and, just as importantly, is used very judiciously. Elsewhere, Lucy Collins is truly outstanding as a charismatic hospital patient (we'd be talking awards if this was Hollywood) and Marie Wilson inhabits the character of the downtrodden woman next door with an authenticity that informs her every gesture and expression. Joanna Pope is also note perfect as his fussy mother and Jack Beresford scores in an all too-brief appearance as younger brother, Rob. Interactions with his family are painfully convincing and, although the psychology of a broken home leading to emotional detachment is hardly new territory, Burman really nails it, never mining a scene for audience sympathy or making his emotional journey too great to strain credibility.
Obviously, a lot of the heavy lifting falls to Dan Burman as Matt and he proves more than capable of shouldering the responsibility. It always seems a little unfair to single out individual performances from a fine ensemble but it's very hard not to highlight a few. In less adroit hands, this could all have been a little on the dull side but writer-director Kris Smith and a largely unknown cast pull the audience in slowly but surely and, by the climax, you are fully invested in both story and characters. There are no silly 'bucket list' activities just regular trips to the hospital, awkward 'self-help' group sessions and a few snatched moments of happiness as the clock begins running out. The strength and authenticity of the film lies in its grounded approach a willingness to embrace the mundane and common place aspects of the situation. However, 'I'm Still Here' (2013) neatly sidesteps all the tiresome 'Hollywood' grandstanding that is synonymous with the subject matter and delivers instead a truthful and telling depiction of the struggles of Matt, a young man struck down by a lingering and potentially fatal disease.
Fiction often seems trite and forced when you've actually dealt with the reality, particularly a devastating one. Having lived through a family experience of terminal illness, I was not looking forward to watching this film.
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