Remember Me is a 2010 American coming-of-age romantic drama film directed by Allen Coulter and written by Will Fetters.

It stars Robert Pattinson, Emilie de Ravin, Chris Cooper, Lena Olin, and Pierce Brosnan.

The following morning, after her father hits her when she stands up to him, Ally flees back to Tyler's apartment, where the pair consummate their relationship.

Charles again bails out his son and tells Tyler that he will exert his power over the school's board of trustees to ensure that the bullies are forced to leave.

Aidan, who has since gotten a tattoo of Tyler's name on his arm, is working hard in school, and Ally gets on the subway at the same spot where her mother was killed.

A Pakistani song, "Saason ki Mala Peh Simroon" by Nusrat Fateh Ali Khan, is also heard in the movie when Tyler takes Ally on their first date at Gandhi Restaurant.

The site's critics' consensus reads, "Its leads are likeable, but Remember Me suffers from an overly maudlin script and a borderline offensive final twist.

"[10] Andrea Gronvall gave a similar assessment in The Chicago Reader, writing, "Allen Coulter directed this morose and sluggish drama, which gets more mileage from Pattinson's anguished profile than from Will Fetters's thunderously overwritten screenplay.

"[11] Derek Malcolm wrote in the London Evening Standard, "Decently shot and directed as it is, it lacks any real flame.

"[12] Kirk Honeycutt of The Hollywood Reporter gave the film a positive review, stating the "scenes between Pattinson and de Ravin exude genuine charm."

It may be affected, but [it] is at least aiming for an intriguing character study — a positive sign in the young career of Pattinson," who he says steps away from "Twilight, apparently in search of his Five Easy Pieces or Rebel Without a Cause.

"[14] Lisa Schwarzbaum of Entertainment Weekly gave the film a D+, calling it a "shameless contraption of ridiculously sad things befalling attractive people."

"[17] Elizabeth Weitzman of the New York Daily News also denounced the film's ending, writing, "There's no shame in exploring tragedy through art.

Liberate them from the plot's destiny, which is an anvil around their necks, and you might have something" but goes on to say it "tries to borrow profound meaning, but succeeds only in upstaging itself so overwhelmingly that its characters become irrelevant".