Take a shot of Seinfield and Chapelle, throw in some Rat Pack and Godfather and you have newcomer Rob Reilly's comedy film 'Back To Manhattan.' The film is a very funny day-in-the-lives-of two loan sharks, Frankie and Paulie. They are genuine tough guys. Their repartee blisters paint and their hair is perfect. But bodies? Bullets? Moles? Hot Cars? Not in this film! And that is what makes this comedy of errors such fun.
Our anti-heroes take their sweet time waltzing through an ensemble film that twists and turns from Jersey and Queens to Manhattan. They are out to collect a late loan payment but in this film, it is not the destination that is important but the very funny trip along the way. Barely coasting along in a half-dead, gas-guzzling 1992 Dodge Spirit, they get burrito bombed, chased by a rabid pit bull, dissed by a retired hit-man, flummoxed by a wired Mets fan, hosed by car thieves, and where are their guns? In short, these guys get no respect but they don't seem worried. And that is where the easy fun and laughs are throughout this what-could- possibly-go-wrong-next film.
Frankie and Paulie, played to perfection by Eddie Sicoli and Paul Dunleavy, hold the film together with their comfortable performances and strong screen chemistry. They have an easy relationship that seems to be a perfect match for the film. You have seen guys like this in Brooklyn and Queens, slicking their hair and chasing the girls, but never on the screen with this kind panache. Michael MacKewice, Lora Pfeiffer, Justin Allen and Steve DeVito also do well with their roles as a wired Mets fan, his girlfriend and two petty crooks.
As far as the writing and directing, Rob Reilly is a gifted filmmaker. Rob has a great ear for dialogue and his script always rings true. His staging, details and understatement also payoff with some very funny material. Frankie's fifteen-minute blind date with a giant is priceless comedy, all done with dialog and reaction shots. There are also many times when other directors with less restraint would have played the comedy with broader strokes, but then the film wouldn't have its easy-going fun and charm that make it work so well.
And then there's the film's rocking sound track. It is clear this director feels music is just as important as his visuals. He uses it skillfully to weave transitions and punchlines together as well as reinforce the good time feeling of the film. The film uses the work of half a dozen Indie artists from New York to LA for a more raw feel.
According to the director who spoke at the NY International Independent Film and Video Festival, this film was done for $18,000. All I can say is WOW - I can't wait for Reilly's next film!
8 / 10
