wes-connors Troubled, successful writer Robert Downey Jr. (as Dito Montiel) is called back to his old Astoria, Queens, New York City neighborhood to say farewell to a dying father he left behind in hatred. Home, he finds himself haunted by friends and family from the past; as you might expect, he comes to realize they were his life's inspiration. The majority of the story is told in flashbacks, with Shia LaBeouf assuming the title role. Mr. Montiel, the character they portray, is the film's writer/director.There are at least three and a half excellent individual stories contained, even cramped into the running time; the supporting characters are so beautifully performed, you crave more of them. From opening with the Dianne Wiest to the closing with Eric Roberts, the supporting cast commands your attention.Even more intriguing than the main character (Montiel/LaBeouf/Downey Jr.), are his relationships with friends like Channing Tatum (as Antonio), Martin Compston (as Michael O'Shea), and Melonie Diaz (as Laurie); along with mother Wiest and father Chazz Palminteri (as Monty) - all of whom emerge, thanks to superb performances, as more interesting characters than the auteur; though, possibly, this is justifiable and/or intentional. Perhaps, Montiel will develop these characters in future projects.But, hopefully without too much of the often misunderstood and misused wobbly camera movements so prevalent in films of this time. Eric Gautier's photography is fine, and the shakiness isn't too distracting, but the scene involving Mr. Palminteri's epileptic attack is particularly insufferable. (Someone save the original footage.)Others acting up a storm and/or making strong impressions include "Blood on the Tracks" brother Adam Scarimbolo (as Guiseppe), a mysterious soul who participates in one of the film's most memorable segments; Peter Tambakis and Scott Campbell (as Nerf), a foul-mouth dude who hides insecurity by basking in the shadows of others; Anthony De Sando (as Frank), a self-medicated seer who's also ahead of the both the curve and the curb; and the relatively well-adjusted Rosario Dawson (as older Laurie).If that's not enough, note that extraordinary 1960s "Dark Shadows" alumni, "Helter Skelter" (1976) star, character actor, and highly qualified teacher George DiCenzo takes a well-deserved bow (as Uncle George). Including Mr. DiCenzo in your picture is always good for bombast and believability.For anyone growing up on the razor's edge, the film should resonate, despite skipping many of the hardcore mean streets Montiel must have been familiar with. Nobody even thinks to stick a safety pin in their skin and make the trek to CBGBs? Queens had more punk. Montiel's realizations are nothing new, but they are written and performed with admirable verve, spontaneity, and skill. The film is easy to recommend, and will be remembered as a high point in the careers of all involved.Saints preserve us.******** A Guide to Recognizing Your Saints (1/20/06) Dito Montiel ~ Shia LaBeouf, Channing Tatum, Martin Compston, Robert Downey Jr.

thesar-2 I happened to catch A Guide to Recognizing Your Saints on IFC on-demand one day and since it stars Robert Downey Jr, one of my favorites and Shia LaBeouf who can act, when he's far-far away from big-budgeted movies, I gave it a chance. Though, I can't say I was really disappointed, I can say I wasn't that impressed.I guess it's just not my type of movie. It's a flashback movie of a novelist who speaks not-so-fondly over his family living in Queens, NY in the mid-1980s who screams every line, incessantly talks over each other and the punk kids he either grew up with or wooed. Realistic, I suppose, but I'm certainly glad I never had to ever endure one minute of this guy's life.Older Dito (Downey Jr.) starts off in the present reciting his life story and then we get the typical 80% past and 20% present movie. In the past, Young Dito (LaBeouf) hangs out with the wrong crowd with aspirations of getting out and promising a girl he'll take her with him. He's also dealing with his loud father who, per his own words, is very abusive, though through sight, I honestly don't think he was that back. I've seen worse.The kids, or mini-gang, just wander around Queens always getting into a beef with a real gang. Yelling, swearing, baseball bats, murder and accidental suicide ensures. And though I've already admitted I haven't walked in these kid's shoes – or lived in NYC, or any large inner-city, for that matter, I doubted their reactions. Such as after the accidental suicide, and at the funeral, the brother of the deceased goes on to talk about the previous plot point as if nothing ever happened. Those parts I found unrealistic.Other than that, I'm sure these situations and families truly lived like this, and just like a lot of movies, a la Boyz n the Hood, I'm sure there's always at least one member wants to break out of the mold and venture to a cleaner life. But, we've been there, done that, with a lot more interesting characters. And with characters we actually care about. There wasn't a single likable or charismatic person in this movie, including Dito, that I rooted for.So if loud and overlapping conversations, yelling, swearing, ruthless and "abusing" low-life families and kids stuck in the 1980s is your bag, you might like this "real portrayal." Other than that, you're best just to go back to (or in this movie's case, forward to) the much better 1991's Boyz n the Hood.

Melissa Mendelson The story of our lives begins in youth, and no matter how far we walk into time, those moments of our life walk with us. And hard choices will be made and never taken back, and we will struggle ahead, never knowing what lies down the road. And we will always look back to remember the ones that touched our lives, filled our soul with inspiration, and gave us the strength to continue on.And the door to the past swings open, and we are led into the life of Dito Montiel. And through his pen do we witness a dramatic story of one living on the hard streets of Astoria, Queens, and as the camera rolls, we follow his journey from past to future. And with heart and soul do the actors bring characters to life, memories of those carried forever, and the depth of one revealing the fabric of his being, his definition echoes deep through the talented Robert Downey Jr . and Shia Labeouf. And inspiration meets us in the end, and love, friendship touches our heart. And the bitter sweetness of life are the tears that slide down our skin and fall like shooting stars across the night, A Guide to Recognizing Your Saints.

jor_supersid its just a dead end actor's piece with horrible direction, sorta a stab at indie film only with lucid (and run if the mill) typical Hollywood story frame.the movie tricks you into thinking its real to life, but the truth is that life at least has explanations for events. further more how can you care about characters, whom appear only as the are with no explanations for how and who they are (only showing a father beat a kid in the street is lazy) its called basic story telling for a reason.everyone just wanted to be involved in a "gritty real life drama" including the director himself. actors were drawn to it to try and get chops for dramatic exposure, like when Shia punched a wall in an audition.... gritty hardcore, just like black flag.yes it showed disillusionment in youth but doesn't every hip hop/urban dance/rap movie show that, along with poor race relations. I mean at least ROLL BOUNCE had a real arc for the lead, without alienating the other characters, while building to an actual conclusion.bottom line is this: reality is that all the characters were dragging the lead down, even the girlfriend or the Scott, they "get by" unhappily in how they all live. they only want support because they have no means to advance, anything but being ignorant leads them to confusion, just like any one trying to place a real story in this never ending plot hole of schlock. so just like anyone who'd watch this again, you like the lead would need to have a lot of balls (or no brains) to want to return to a life in Purgatory....and please make sure the editor never works again.