7.8/10
193,471
636 user 485 critic

Manchester by the Sea (2016)

R | | Drama | 16 December 2016 (USA)
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A depressed uncle is asked to take care of his teenage nephew after the boy's father dies.

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807 ( 95)
Won 2 Oscars. Another 121 wins & 245 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Lee Chandler
... Young Patrick
... Joe Chandler
Richard Donelly ... Mr. Martinez (1st Tenant)
Virginia Loring Cooke ... Mrs. Groom (2nd tenant)
... Marianne (3rd Tenant)
... Mrs. Olsen (4th Tenant)
... Mr. Emery (as Stephen McKinley Henderson)
Ben Hanson ... Lenny - the bartender
... Sharon
... 1st Businessman at Bar
Anthony Estrella ... 2nd Businessman at Bar
... George
... Nurse Irene
Robert Sella ... Dr. Muller
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Storyline

Lee Chandler is a brooding, irritable loner who works as a handyman for a Boston apartment block. One damp winter day he gets a call summoning him to his hometown, north of the city. His brother's heart has given out suddenly, and he's been named guardian to his 16-year-old nephew. As if losing his only sibling and doubts about raising a teenager weren't enough, his return to the past re-opens an unspeakable tragedy. Written by Jwelch5742

Plot Summary | Plot Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for language throughout and some sexual content | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Official Facebook | Official Site |  »

Country:

Language:

Release Date:

16 December 2016 (USA)  »

Also Known As:

Manchester junto al mar  »

Filming Locations:

 »

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Box Office

Budget:

$8,500,000 (estimated)

Opening Weekend USA:

$256,498, 20 November 2016, Limited Release

Gross USA:

$47,695,120, 21 April 2017

Cumulative Worldwide Gross:

$62,201,310, 19 March 2017
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The screenplay for this film was featured in the 2014 Blacklist; a list of the "most liked" unmade scripts of the year. See more »

Goofs

When Patrick is at Jeffrey and Elise's home for lunch he unfurls and places the same napkin in his lap twice yet the napkin is again folded beneath his fork when he leaves the table to wash his hands. See more »

Quotes

Patrick: You're a fucking asshole.
See more »

Connections

Referenced in Saturday Night Live: Jimmy Fallon/Harry Styles (2017) See more »

Soundtracks

Chérubin
Written by Jules Massenet
Performed by Münchner Rundfunkorchester (as Munich Radio Orchestra) and the Bavarian State Opera Chorus (as Choir Chorus of the Bavarian State Opera)
Mezzo-soprano: Frederica Von Stade
Bass Vocal: Samuel Ramey
Soprano: June Anderson and Dawn Upshaw
Courtesy of Sony Classical
by arrangement with Sony Music Licensing
See more »

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User Reviews

 
tale of loss, regret, pain
28 September 2017 | by See all my reviews

First, this movie isn't for everyone. Some will rant and call it sentimental because it doesn't hit home. Whatever - stop watching if it doesn't work for you.

The quiet ordinariness of most of the film gives no distraction or respite from the searing pain of loss, regret at the irreversibility of time. Small, seemingly insignificant acts at some critical moment become pivot-points of lives - anyone who's been through anything even somewhat close to this film's events knows this. "Walk a mile in those shoes" as they say.

There are no glossy moments or artificially witty lightening lines or visuals to distract from the reality. This film shows how the middle-class in America (the getting-by middle-class, where things can turn on a dime and trade-off & sacrifice is a daily choice).

Regular lives - not bond-grinding poverty or its opposite - go through the rituals of hockey practice, band practice, teenage libido, frustration boiling over at petty obsessions from people unaware of the possibility that someone lives in tragic irreversible pain and regret.

What makes this film so powerful is that the central thread is barely perceptible at first - you guess that something troubles this man, but very likely your speculations are far, far off the reality. It slowly shows itself using muted retrospectives ('flashback' is too jarring a word); the pivotal event appears without any forewarning. One thought likely to occur when the viewer grasps the fullness of the event is "how is this man able to still face the day, communicate, function?".

The main character(s) anguish becomes more noticeable with time, to the point that even slightly empathetic viewers will likely question whether they need to re- calibrate their own perception of their ability to empathize.

Did I enjoy this film??? No - film can be more than feel-good eye/brain candy.

Will I watch it again? No - I don't need reminders about my own regrets, mistakes. I got a lot out of it - the empathy-calibration, context for my own experiences, and stellar performances from a few people.

I did re-assess my perceptions of empathy and my ability to empathize. Everything in the plot is more than plausible - the cinematography feels like it's filmed through the eyes of a normal, sane, rational and perceptive person. No artifice. People live in houses like those I've lived in, seen countless others live in. Actors didn't step out of Vogue or GQ. Very little true grubbiness is shown, but it's _not_ the scrubbed clean, crisp everything that many movies show. This feels exactly like what it is - a movie about ordinary middle- class/blue-collar living in 'normal' houses, streets.

This film won't be escapist for anyone not in the middle of far more difficult, horrific experiences - it's a window into a normal life that's been twisted and smashed by a small but pivotal omission - something tiny that many people have done without having to live with the consequences.

Watch it without preconceptions and see how it affects your perception of empathy, your ability to empathize.

It's not a film without hope, but the hope that does emerge as it winds down is realistic, muted and believable. Despite the obvious mistakes and failings of the main adult characters, it's plausible that most people would respect real-life people who could pick up, carry on, and try their darnedest to mend and be good people.


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