Manito

As a dramatist Eason has a classicist's sense of structure and movement to complement his sense of the cinematic. Manito, which has a special grand jury prize from Sundance among its 10 awards, is a small film with a big impact.

Franky G.'s performance as the protective yet combustible older brother is as real as it gets.

Eason's twist of fate and too-sudden ending seems as rooted in Washington Heights as the music that pours from the neighborhood's car windows, the smoke that billows from its late-night eateries, and the stoic resignation inscribed on its inhabitants' faces.

Toward the finish, the movie takes a regrettable curve into melodrama, but the excellent performances never waver.

Eric Eason's assured debut succeeds in the way Larry Clark's “Kids” succeeded -- through a feel for the rhythms of street life, and some extraordinary casting.

With Manito's raw portrayal of its characters and stripped-down cinematography, the undercurrent of impending tragedy is palpable.

If you shy away from that sick feeling in the pit of the stomach that comes when watching good people make bad decisions, then best to steer clear of Manito, a low-budget indie that reaches near-Greek proportions of tragedy brought on by lousy decision-making.