The movie is a coming-of-age drama about a boy growing up in Astoria, New York during the 1980s. As his friends end up dead, on drugs, or in prison. He comes to believe he has been saved from their fates by various so-called saints.
The story of the assassination of U.S. Senator Robert F. Kennedy, who was shot in the early morning hours of June 5, 1968 in the Ambassador Hotel in Los Angeles, California, and twenty-two people in the hotel, whose lives were never the same.
Turning her back on her wealthy, established family, Diane Arbus falls in love with Lionel Sweeney, an enigmatic mentor who introduces Arbus to the marginalized people who help her become one of the most revered photographers of the twentieth century.
Robert Downey Jr.,
Friends for ten years, a group of twenty-somethings head for the ski slopes as guests of Ian's father. (Ian and dad are estranged because dad worked too many hours when Ian was a lad.) Dad ... See full summary »
2 girls wait outside a young actor's door and find out he's had them both as "only" girlfriend the last 10 months. They wait inside after breaking in. When Blake comes home he just can't stop lying but they stay.
Robert Downey Jr.,
Natasha Gregson Wagner
Dito, a writer in L.A., goes home to Astoria, Queens, after a 15-year absence when his mother calls to say his father's ill. In a series of flashbacks we see the young Dito, his parents, his four closest friends, and his girl Laurie, as each tries to navigate family, race, loyalty, sex, coming of age, violence, and wanting out. A ball falls onto the subway tracks at a station, small things get out of hand. Can Dito go home again?Written by
Many of the locations used in the film were the same places where the actual events had occurred. The conversation between Dito and Flori in the early morning for example is down the street from where the real Antonio had lived. Dito Montiel joked that many of his childhood friends would hang around the set for filming, and tell the cast members "I never would have said that." See more »
After Mike introduces Frank and Dito, the trio leaves Franks apartment. The cross the street and start to discuss wages, Job - from the bible, and Frank tells Mike he gets a raise. "well you just got a raise then, for the band". As soon as he finishes "for the band" there is a pay phone emerging from the left side of the screen. Verizon. The year is 1986 in the movie, however Verizon Wireless began operations on April 4, 2000. WSII. See more »
You want it straight? 'Cause I'm the only fucking one who's gonna tell you for some fucking reason. You killed him. You killed your father when you left. Are you hearing me? You fucking killed him. You left a trail of blood when you left. So forget me, forget all this shit, forget it, alright? You killed your mother, and you killed your father. And for the past fucking 20 years, he's been dying - just waiting for you to come home. Say 'Daddy, you fucked up.' 'Daddy, I fucking hate your guts.' ...
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At the very end of the credits, after the logo graveyard, there is a short bit with the real Monty. See more »
First time director Dito Montiel's "A Guide To Recognizing Your Saints" is a harsh autobiographical look back at his youth on the mean streets of Astoria, Queens in the mid 1980's. From the film's opening moments, Montiel introduces us to an intimate world of family and friendship that totally blindsided me by its greatness. There are moments in "A Guide To Recognizing Your Saints" that roll along with such force and emotion, that Montiel feels like a natural born filmmaker, infusing his personal heartache into strong characters breathing within a vivid time and place. Montiel's handling of edits, sound, and music are also powerful, such as a scene in Dito's kitchen between his father and group of friends that explodes into stark images and quick cuts to black. Montiel also handles the return home of Downey Jr. with care and vulnerability, searching for small answers that come in revelatory conversations with his mother (Dianne Weist) and grown up girlfriend Dianne (played by Rosario Dawson). And while such personal material can be hard to translate without lapsing into melancholy, Montiel finds a way to craft a clear eyed version of his life, allowing strong acting and electric film-making to take over the balance of the experience. I love finding unheralded gems such as this. The name of Robert Downey Jr. brought me to the theater and I discovered a true talent in Dito Montiel who has crafted one of the finest directing debuts in several years
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