Manito

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.

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)

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.

"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

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)