Manito (2002) User Reviews

Two brothers

[jotix100 · 8/10 · 28 December 2005]

Eric Eason's "Manito" is one of the most powerful films in recent memory. There is such raw energy that it involves us from the start. "Manito" uses a hand held camera technique that gives the viewer an intimate interaction with all the characters presented in the movie. The rhythm never stops throughout the film and at the end we don't want it to end, but wisely, Mr. Eason has given the movie the right length in this satisfying look at real people, something not to be found on a Hollywood make-believe film.

"Manito" presents a situation about two brothers, Junior and Manny, who are as different from one another as day and night. Junior is quick tempered, has a violent nature, and Manny, is a young man that is mature beyond his years. Both brothers love one another dearly. Their environment will interfere in their lives. In the span of only a few hours, violence makes an unwelcome appearance, as Manny is faced with a situation where he is given a gun in order to take justice in his own hands, with dire consequences. In turn, Junior, trying to help Manny and the uncertain future that awaits him in jail, decides to confront his own father who years ago had let him go to prison when he was innocently charged for what the old man had done.

The energy in the film is enhanced by the cast, most of them non professional actors. Franky G. makes Junior come alive. Leo Minaya plays the good brother Manny. Jessica Morales is perfect as the beautiful Marisol and Julissa Lopez is Miriam.

Technically, the film has a grainy look that cinematographer Didier Gertsch gave it. The musical score by Saundi Wilson plays well in the background. The direction of Eric Eason is what makes this film come alive. We are given a real life situation that is dealt with realism and conviction. You will not regret watching it.

3.5 stars

[mweston · 8/10 · 18 April 2002]

This is the story of two brothers in a Latino area of a big city. The older brother has just been released from prison and is determined not to let his younger brother, Manny (the title is an affectionate nickname), follow the same path. Manny has excelled in school and is graduating from high school, but he is not home free yet.

The film takes place over 48 hours, and was filmed in 25 days in a gritty, documentary style. The actors were mostly new to film, which probably added to the realism. It's the performances that make this film, which won a Special Jury Prize for ensemble acting at Sundance. As is often the case, it's not an easy film to watch, but it's worth it. Seen at Cinequest (the San Jose, CA film festival) on 2/24/2002.

Excellent for what it is

[=G= · 6/10 · 18 August 2004]

"Manito" tells of urban life in a NYC Puerto Rican hood as it follows a buff ex-con, Junior (Franky G), and his little bro, Manny (Minaya), as Manny graduates High School only to see his dreams for the future derailed. You'll find little story in this open-ended slice-of-life-in-da-hood flick which is quick to get down and dirty with family issues and personal problems. What story is in this short 78 minute flick is nothing we haven't seen before but it is very well done, especially for an indie. With kudos from all corners, "Manito" may not be for the public at large but it's grit and realism, good jiggle cam work, ethnic music, and convincing performances make it a rock solid little movie. Recommended for anyone into indie "street" flicks. Mostly English with subs for the Spanish and no CC's. (B)

powerful drama about the past coming back to haunt the present.

[kelamity1 · 18 March 2002]

this film is an exceptionally strong story about how difficult it is to transcend the forces of the past, your own, your neighborhood's and your family's. the gritty urban drama uses a handheld camera to create a reality that is never broken or compromised.

the exuberance of this Uptown Manhattan Latino clan is beautifully rendered as they attend the star of the family, Manny's graduation. his older brother, Junior, throws a great party and we sense that this family is on the road to recovering from the dark shadow cast by their former drug dealing father, now estranged.

but Manny's bright future is jeopardized by a tragic incident that forces Junior to turn to the one person he despises above all. Franky G's turn as Junior Moreno, a live wire who negotiates all that life dishes him with charm, brute force, or simple perseverance is amazing.

the climax is stunning and all i can say is this is like Shakespeare in Spanish Harlem. amazing.

a multiple festival award winner: best film at south by southwest, special jury at Sundance, special jury at Miami, this film will grab you on the first frame and hold you until the final subway departs.

No "gem," but an inspired film

[MovieLuvaMatt · 7/10 · 13 October 2003]

I just watched this film for my Latin-American Cinemas class. I wasn't overly impressed with "Manito," but it is a good film with a realistic, inspired feel. I can tell Eric Eason based the script on real-life experiences, and didn't simply recycle old Hollywood crap. The narrative definitely has uniqueness. The scene on the subway train, where Manny is with his girlfriend and two hoodlums taunt them, is an extremely powerful scene with no cheap cinematic devices. Since it's shot guerilla-style on hand-held digital camera (don't quote me if I'm wrong), there are no pretentious extreme close-ups or anything like that. We're simply taken in by the drama of the situation. The acting is good, though I don't suppose many of the actors were playing characters that drifted from their regular personalities. Franky G, who plays the lead, is a fine actor and it's nice to see that he moved onto bigger movies like "Confidence" and "The Italian Job." All in all, the film is not highly memorable, but it was written and directed from the heart, which is what I appreciated and why I could forgive little flaws like the clumsy lighting (since most of it was natural light that really didn't do the job). Also, I could've done without the heavy-handed symbolism of the train coming in during the opening titles and moving out at the conclusion.

My score: 7 (out of 10)

Bravo! A stirring film of tremedous power!

[vanessapeeters · 10/10 · 26 July 2003]

Here is a film (along with "City of God") that explores a violent world infested by drugs--and uses a cast of non-professional actors. Shot for much less money than the Brazilian masterpiece, Manito is something of a "minor masterpiece". I had heard that the images and editing are jarring. But I discovered it to be, on the contrary, a beautifully photographed film, the grain structure of which reminded me of 8mm Ecktachrome stocks from the 1960s...Furthermore, the camera choreography is a daring risk to mimick the exuberance of a passionate family in the throes of a tumultuous celebration that turns to tragedy. This is a style that could not be more perfectly suited to the material. The highest compliment one can say about these incredibly brutal yet beautiful images is that nothing like this has ever been seen before. "Manito" is better than virtually every other film made in America this year. That's not saying a whole hell of lot in year that has given us one bomb after the next. But "Manito" is a significant achievement.

Independently Enjoyable, Albeit Flawed.

[IowaJammer · 7/10 · 30 January 2015]

"Manito" is an independent film in every sense of the term. From the gritty lightning down to the jumpy out of focus shorts, "Manito" envelops neorealism. At a running time of not much more than an hour, the small investment required is well worth ones time. The payoff however is disappointing considering what could have been. While watching "Manito" I found myself wondering if the flow of the film was done for artistic or budgetary reasons. I cannot give credit to a film for artistic achievement when in truth it was all that it could afford. This is not to suggest that "Manito" is low budget (even though it is), in contrast, the credit instead must be given to how engrossing of a story can be created by anybody with enough ambition to do so.

In reality "Manito" isn't a feature film, it's what I consider to be a short. Technically it gets lumped in with the feature films, but when there are a number of television shows that match your running time it all becomes arbitrary. The premise behind "Manito" is that the older brother 'Junior' is trying to rebuild his life after getting out of prison while his younger brother 'Manny' is doing a good job of preventing himself from following his older siblings footsteps. The film does a good job of bringing the audience into the story and making us care about the characters, almost to a fault. I ended up caring so much about these characters that when the film was over I felt cheated that there wasn't more closure. Sure artistic license will defend the choices made, but I feel that much more was possible if another 10- 15 minutes of material was written.

My complaints are actually quite minute when it comes down to overall enjoyment. The dialog while far from creative is grounded and delivered with great emotion that makes me care as much as they do. 'Junior' is the star of the film and carries much of the weight. The viewer can't help but feel like he's really doing everything he can to make right on his life despite still being human and showcasing flaws that many of us without records posses.

In the end, "Manito" is another example of how powerful nature is in our development. No matter what our plan may be for our life. No matter how well we execute our plan. Our environment is likely to win-out in the end. Fortunate people in destructive environments who allow themselves to fall victim to circumstance are a cautionary tale for the rest of us to never take our good-fortune for granted.

Read this and other reviews at my website: CD1083.com

Involving family drama that refuses to be categorized.

[deanbarnett1966 · 9/10 · 20 September 2003]

Here is an involving family drama that refuses to be categorized. Is it a Dogme film? Is it an experimental work? Is it an offspring of Cassevettes? Of Scorsese? Of Sidney Lumet? Is it a foreign film shot in America? Is it a piece of verite filmmaking? Or is it more rooted in Documentary?

Set in a Manhattan Latino neighborhood, the story sets out with a very broad canvass, filled with the colors from all aspects of its world. The technique is at first documentary and little by little becomes something that feels more familiar. As if the filmmaker decided to trick you in to the story through some kind of visual artiface afterwhich you are so engrossed, you no longer are concerned with imagery but only for the characters.

The story has no less than ten very memorable scenes. My favorites were the big graduation party that seemed truly captured (and not staged). There is also a scene in a prison that was one of the most emotionally moving moments I've experienced in a long time.

If the film has a flaw, its that the story feels too unremittingly bleak in the end. I'm not suggesting that I wanted a happy ending. But, I did feel like the director was overally hellbent on proving his dark view of the world.

I give this film a 9/10 and highly recommend it to people who enjoy Art films and World Cinema. (If you are a glossy Speilberg, this film is not for you)

Form and Function In Film Art

[gradyharp · 9/10 · 7 February 2006]

MANITO is a fine little independent film that does what few of the big movies have tried: the manner of shooting an intimate family film set in the ghetto atmosphere with a hand held camera gives it the immediacy and grit of the story far better than the expensive multicamera shoots of other similar tales with big budgets. Writer/director Eric Eason succeeds in inviting us, the outsiders as audience, to witness the machinations of a family at war with itself as though we were in the hall, at the window, or behind the wall. The result is a powerful, unpretentious little film with clout.

Manito (Leo Minaya) is the younger brother of Junior (Frankie G) who has succeeded in school and in social life in a way that eluded Junior. Junior is an ex-con (we learn later how unjust that title is) who is basically a ne'er-do-well womanizer, but still works hard to make a living for his wife and child. When Manito (or Manny) wins a scholarship on graduation, Junior is bound to celebrate his love for his little brother and his pride in Manny's achievements with a big party. The father of the boys is the poison that drives the potential celebration into a disaster in a manner that summarizes all that is evil in the environment in which the brothers have survived. The story ends in a tenor that leaves as many questions unanswered as it does in finalizing the tale.

Franky G is the only known actor among this talented but inexperienced cast. And despite the many small roles he has had serving as eye candy (and justly deserved!) for big movies, here he proves that he can indeed inhabit a role and give us a character who, despite his antisocial behavioral aspects, is a man we grow to love. The entire cast engages our attention as a verismo experience and witnessing the trials and smiles of this family sheds a warmer light on the Hispanic than most of the big movies afford. We doubtless - and hopefully - will be hearing and seeing more from Eric Eason. Grady Harp

Puerto Rican Mean Streets

[arnis12 · 10/10 · 7 April 2002]

I just saw this at the Chicago Latino Film festival and was blown away. The synopsis compared it to Mean Streets, a generic description that few film fail to live up to, but this one does and no doubt Scorcese himself would be proud. It's explosive, full of raw energy, great ensemble performances between boys and girls that feels more like a documentary than a film, and a love/hate relationship with the big apple who's energy drives the film and justifies the rapid editing. The film explores the relationship between two brother, one, a hardedned ex-con and ladies man, and his little brother, a sweet, innocent kid on his way to college, and one believes, towards a hopeful, succesful future. The brothers are the key to the film and both actors are brilliant, and give powerful, emotional performances without descending into obvious one-dimensionality. There is a scene on a train where the younger brother comes face to face with some thugs, every inner city dwellers nightmare, and it is one of the most suspenseful scenes I've ever seen, loaded with energy and danger. The camera work is very raw, but it is also one of the finest examples of a film being shot on D/V and transfered to film. A great debut and a must see.

A work of rare artistic integrity and daring...

[karengold77 · 10/10 · 21 May 2002]

The DV Revolution launched by the mad danes Von Trier and Vinterberg has gone awry in the inept hands of American auteurs. "Chuck & Buck", "The Anniversary Party", "Bamboozled", "The Believer"--even the yet to be released projects "Tadpole" and "Personal Velocity" are all patently antithetical to the spirit of the Domgme 95 Manifesto. The aforementioned works travesty the digital medium. Had they been captured on film, these works would be bland and forgettable....On DV, they are bland and unwatchable....Audiences are made to pay a terrible price for the director's lack of resources--both financial and creative.

When (if ever) would an American film exploit the medium of digital to its full potential?

Strike a bell, the feat has finally been accomplished by an unknown director, Eric Eason. His film is called "Manito" and it is, in fact, a Landmark American work that puts digital video on the map.

"Manito" single-handedly rescues DV from the second-drawer impostors dawdling in digital and elevates the medium to new heights of artistry.

The significance of the film lies in its staunch integrity. "Manito" doesn't pander to commercial tastes, but rather follows an inner vision whose only rules are truth. As a result, the director takes enormous risks in alienating bourgeois audiences. No doubt many a middle class viewer will walk out after the first two minutes. "Manito" is one of the most difficult to watch films in memory--to its credit! The performances by the amateur actors are more raw, more naturalistic, more truthful than anything Cassavetes ever lensed.

You won't see "Manito" in a theater near you. I dare say there isn't an audience for such a film. No American distributor in his right mind would buy it. You'll have to search it out like a rare book or painting. What a shame!

Best Film of the Year...

[soniabrennan449 · 10/10 · 1 April 2002]

2002 is only three months old, but "Manito" is the best film so far.

"Manito" is a tale of two brothers--Junior, an ex-convict trying to get his life together and Manny, a promising high school graduate. On the periphery of the drama is their father, Oscar, a former drug dealer who is estranged from the family.

On the night of his graduation party--Manny becomes involved in a crime that threatens his future. His brother Junior--knowing full well the horrors of prison--sets out to help his little brother avoid this fate through any means he can.

"Manito" is a straightforward, linear film. All of the action unfolds (i think) over one long weekend--the centerpiece of which is Manny's incredible graduation party. The story starts out very wide and includes several characters from the neighborhood. And by the end of the story, a show down occurs befitting Greek Tragedy.

The quality of the acting is so high that many people will mistake these amazing performances as documentary filmmaking. Even more amazing is the fact that the cast is made up of non-professional actors. The Latino director (Puerto Rico) Eric Eason deserves an Oscar for his intelligent and measured guidance. And the lead actor Frankie G. (Junior) is a superstar in the making. (His debut performance is extraordinary and recalls early Marlon Brando). The rest of the cast--especially the actor Hector Gonazalez (Abuelo) are wonderful.

Many viewers will no doubt find the filmmaking style of "Manito" off-putting. Admittedly, the film's aggressive camera and editing techniques take some getting used to. However, two minutes into the story, the style seems like a revelation. Never has a subject matter so perfectly matched it's style. I want to say that "Manito" (and the filmmakers behind it) introduce us to a new kind of visual language, a new way of seeing a story. The intimacy afforded by this innovation is perhaps the film's single greatest achievement.

A stirring, powerful debut feature film....

[LATIMESGUY · 10/10 · 31 March 2002]

I saw "Manito" at this year's SXSW Festival after it won the Grand Jury Prize for Best Narrative Feature Film--when they scheduled an additional showing at the Paramount. Quite frankly, I was wasn't expecting the impact it made on me. The film starts out in a very "slice of life/cinema verite" style. The writer-director, Eric Eason, takes his sweet time establishing his characters and the world they live in. And at the very point where you wonder, "where is this thing going?", Eason grabs you by the throat and locks you into one of the most emotionally charged and authentic dramas about a family ever recorded on film.

There isn't a single false moment--the acting is pitch perfect, the camera work is original and daring, and the film score (by some unknown composer Samuel Wilson) is wonderfully restrained, yet deeply felt and appropriately placed. I'm overjoyed to admit that I cried several times during the film--in places where one would normally would never shed a tear. I cried for the characters, I cried for the plight of my fellow Latinos in America. I even cried for myself.

"Manito" is a feature debut on par with the first efforts of Cassavettes (Shadows), Scorcese (Who's That Knocking At My Door?), and Bertolucci (The Grim Reaper). It's high time for America to have a first rate Latino-Director. So--the question is: will Eason sell out to Hollywood and become a token Latino pawn? Or will he remain true to his obvious convictions and continue on the path to greatness? On behalf of Latinos everywhere--I can only hope for the latter.

Manito on Reel 13

[eplromeo8 · 8/10 · 8 October 2008]

MANITO, the newest Reel 13 Indie about Puerto Rican brothers trying to escape their families' dark past and make ends meet in a mostly Hispanic neighborhood in Washington Heights, was extremely frustrating to watch – it's very dark (Was it timed down? Did the compression in the transfer crush the blacks?), some of the non-actors with accents are hard to understand at times, the foul language gets to be grating and the quick, jump-cut editing style is mostly jarring. In spite of all that, however, the story of MANITO still manages to come to surface and make the film an engaging experience.

MANITO epitomizes what we mean when we use the term gritty – it's whip-camera, verite style, the grainy texture of the film, the Washington Heights neighborhood and the promise of violence that hangs over the film like a dark cloud all contribute to this effect. This is not to say, however, that it does not find ways to be very charming and heartwarming at times (the testimonials at Manny's graduation party are a good example). In fact, I think the film is more effective in its depiction of Hispanic-American life than the Sundance winner from two years ago, Quinceañera. The film-making is stronger and perhaps more importantly, the characters and performances are significantly more believable.

Franky G is probably the only recognizable name in the piece as the philandering, ex-con brother Junior Moreno. Franky G is probably best known to audiences for his supporting tough guy work in films like CONFIDENCE, THE Italian JOB and WONDERLAND. In those films, his performances were rough around the edges, but his charisma was undeniable. Here, G seems more in his element and gives his most complete performance to date – tortured with rage for the past that was thrust upon him, burdened by the pressure of turning his and his family's life around and also unable to overcome some of the vices he accumulated during his dark days. Relative newcomer Leo Minaya is sweet as the titular character (mostly referred to in the film as "Manny") who promises to be the bright light in the family with his acceptance to Syracuse University, but he is not tremendously natural on-camera. He seems (probably unconsciously) acutely aware that he is part of something artificial and his that's reflected in his performance – he's wooden and affected, but in an earnest sort of way. As important as his character is, though, his weaknesses as an actor are not so extreme that the film suffers greatly for it.

MANITO is by no means an uplifting experience. It seems that hope is in short supply for families such as the Morenos. The documentary style of the film makes the conclusion of the film feel very real and therefore it is all the more haunting. The way director Eric Eason portrays violence – with blurred out-of-focus imagery that puts a particularly emphasis on the sound – seems much more disturbing that it would be if we were shown everything. As much of a downer that Manito can be at times, however, one gets the sense that it hits home for many Hispanic-Americans living in major cities and in that sense, happy or not, MANITO is an important and worthwhile film.

The Real Streets

[bckai · 22 October 2003]

The beauty of the movie lies in it's grittiness. It's a small intimate portrait that subscribes to the idea that there are stories every where that's worth being told and we as audience members have the responsibility to appreciate that. Manito isn't wholly original, nor is it groundbreaking, but it is a story, and a strong story at that which provides a certain truth that has been a long absent from the regular Hollywood fare. Take the time to watch this film. I guarantee you won't be dissapointed.

Frankie G. is a rising star.

[applecaca · 10/10 · 13 July 2006]

Within the first seconds of watching this film I asked myself: Why don't I know Frankie G? His portrayal in this film was so realistic and honest, I was blown away. It's no surprise, Manito was so highly acclaimed, largely based on the skills of Mr. G. Rare is it that an actor can convey such conviction in a character. And well some might assume this role reeks of type casting, I certainly felt his range in this role demonstrates a versatile talent. Not only was he strong and irreverent, but, at times gentle, even vulnerable. On one hand he was an obvious womanizer, who let his manhood dictate his fate, at the same time, he was a caring man, who's only wish was the happiness of his family, namely his brother, Manito. Throughout the film, I felt like cheering the character on. It takes a strong actor to deliver all of those qualities. So, then, I ask again: why don't we know Frankie G? The truth is he has been in some major films. But, he has yet to break out as a leading actor. A title, I feel is deserving of his talents. If the major studios don't pick him up, they are certainly missing out. Frankie G. has all the makings of becoming the world's next superstar.

super cool flick

[otisdog · 9/10 · 5 March 2003]

super cool flick with a lot of style and grace...didn't like the ending but what can you say? The movie broke my heart. The pace and editing, the crazy camera work, the belevable performances make it a can't miss to the right audiences...I give it a 9 on the scale. Beautiful mommys too!!!

Very Good!

[l_biu · 10/10 · 7 May 2005]

Manito is a film with a simple plot, but the characters are what puts this movie above the rest. Junior (played very well by Franky G.) is a ex-convict who is married and has a child. He is no good, he constantly has affairs and has a legacy of telling lies. His brother, Manito is about to graduate and Junior decides to have a party for him, but when their estranged Father wants to join, chaos comes which leads to a murder.

The movie looks very shaky and cheap, but it more than makes up for this with a great screenplay and a talented ensemble cast, especially Franky G. who has the good looks and acting talent to go very far.

8/10

Juvenile, Heavy-handed, and Over-rated

[Sergeant_Funkadelic · 21 July 2003]

A combination of unwieldy social consciousness ,melodrama, and juvenile story-telling and cinematic sensibilities, Manito is a reminder that great, simple filmmaking is NOT the result of film-school regurgitation. Any time a film comes out that deals with this same subject matter with relatively the same handling, conclusions, and a slightly different script, it is regarded as high art and hailed by critics. Sorry, folks, it's been done before, and you're not fooling me. While I appreciate the fact that Manito didn't try to come up with some false, hokey solution to the most complex of life's problems (Good Will Hunting), it fails to give any more depth to the story. Some of the acting was good, some of the writing was excellent, but it's a familiar chord progression in this sad, sad song. For gritty hyperrealism, watch Mean Streets.

Powerful if rough

[Chris Knipp · 12 July 2003]

When I got to Manito in the course of my own personal New York film festival I thought: This is going to be the best movie yet, the one that will matter, something more real and more memorable than the others. And in a way it was. But the digital video looked pretty ugly (my tolerance for DV is going the way of my tolerance for e-mail ‘spam'), and Manito, dealing with more complex material, just isn't as smoothly carried off as Raising Victor Vargas either. Comparisons are odious, but this one seems inevitable: the material has too many points in common. It isn't just that Victor Vargas is sweeter, though it admittedly is. Most of the people in Manito are relatively unappealing in some ways and somewhat crudely sketched in. There is some amateurish editing and camerawork, notably jarring, unnecessary zooms. And the relentlessly grim finale twists what really could have been a warm little social portrait – yes, like Victor Vargas – into a sort of grimly expressionistic morality tale. And that's okay. It's just that the rough edges show more.

There's roughness, but there's also much that's vivid and authentic-feeling in Manito. There are essentially three generations here: two sons, Manny Moreno (Leo Manaya), graduating from high school and a scholarship winner; his ex-con older brother, the muscular and charismatic if somewhat brutish Junior (Franky G); their absentee father whom Junior hates because he went to jail because of his drug dealing; and the young men's grandfather, a dapper retiree who dresses up and goes to a whorehouse in an early scene.

Junior is married and a painting contractor living a straight life, but most of all he's a liar and a womanizer. Today is the celebration for Manny's graduation and he's going to college, the first in his family to do so. It's like a bar mitzvah or wedding. (Is this the way they really do things in Spanish Harlem? What about a prom?) Their father tries to send a giant grinder from his (cover) food shop to the celebration. Junior grabs it and dumps it back in the bodega with threatening words.

We see Junior first at home getting ready to go off on a job. He yells at his wife. Then we see Manny at an outdoor playground inviting a girl (who has a child) to his celebration. She says she can't come, but she later surprises him by appearing, and they dance together the rest of the evening. Manny's father gets drunk at a bar where the bartender insults him and describes his bad behavior and drug dealing elliptically in front of him to another customer. Drunk, the father walks in on Manny's celebration just as Junior is speaking his toast to Manny (one of many: too many, though they're cunningly condensed), and Junior breaks off his eulogy to eject their father. In the midst of the celebratory mood, there is bad blood.

Ugly and nice constantly alternate in Manito. There's a nice early scene outside school among Manny's male pals, who chat and boast about the celebration and about women, which has some of the colorful raw humor of Victor Vargas. But after a brief scene at high school, inconsequential, but sweet, the attention switches to Junior going to the job at a woman's house he's supposed to paint. It's all gone wrong. His employees have quit and he has to bring a bunch of illegal Mexican workers dressed as busboys, and he tells the woman outrageous lies to explain them and his two-hour lateness. Then he is seen having noisy sex upstairs with the woman homeowner. It's hard to see how this fits with Manny's story, but this is the portrait of a family, and nothing is prettied up.

Manny is a nice boy with a big friendly grin who's such a good student (not that he seems all that smart to look at) that he's got a scholarship to Syracuse.

Manny insists on accompanying his date home after the party, and this involves a long subway ride (unlike Victor Vargas where everybody lives in the same barrio). During this trip they are menaced by two big toughs who grab the envelope full of money the guests have awarded to Manny to send him on his way. The girl takes out a can of Mace and sprays the guys and she and Manny run off the car toward her house, the thugs in hot pursuit.

They get in just in time, chased all the way by the toughs; Manny got the money back. They're greeted by the girl's screaming mother, who's terrified and angry. The girl kisses Manny (a scene that has none of the magic of the kisses in Victor Vargas) and then says she has something she wants to give him.

It's a pistol. He acts shocked, and doesn't want it, but he takes it. The next thing we learn is that Manny's in jail for shooting one of the toughs in the head. Junior sees about bail. There's a wordless scene where the family (minus the dad) visits Manny in a jail area – more like a waiting room, though, all of them looking very down at the mouth. The celebratory mood is over, big time.

In the final sequence Junior in desperation goes to their father to ask for the $40,000 for the bail. There is a slow visual of him heading to the father's house, all tinted in red, which is amateurish and unnecessary. Finally Junior gets in and absolutely begs for the money, but his father coldly refuses.

Here we have two unsavory characters in mortal combat. What happens is that Junior unwittingly or unintentionally kills his father. If this were a gangster film a la James Gray's haunting The Yards or the Godfather trilogy, it would have the same overtones of tragedy it has here, but it couldn't easily be the finale; here, it is, and the effect is nasty, brutish, and short – and extremely fatalistic.

Manny's story gets somewhat slighted by this sad turn of events and the way the story leans toward Junior; much of the editing seems unbalanced in the same way. One wonders what Scorsese might say: he might like this material, which is, in many ways, strong and vivid stuff. From the first sequence there is a vérité quality that seems quite authentic, even though the camerawork and editing are too clumsy at times to disappear into the fabric of the piece. Manito is cruder than one might expect, and the ending somehow doesn't seem right, but I will still remember this as one of the freshest movies I saw in New York, or anywhere, this year.

Come on, Papi! Paint my house! Paint my house!

[jefferymcgraw · 13 June 2003]

This has to be the worst film I've seen in years. I saw it for free and I still want my money back!

Come se dice "focus the camera"!

No student film could be worse. To think that people actually will have to pay to see this is preposterous. You couldn't pay me enough to sit through it again.