Average Rating: 4.7/10
Reviews Counted: 10
Fresh: 6 | Rotten: 4
No consensus yet.
Average Rating: N/A
Critic Reviews: 3
Fresh: 1 | Rotten: 2
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Average Rating: 3.7/5
User Ratings: 1,268
Edie Sedgwick,1960s heroine of decadence, is exploited from beyond the grave in this clumsily pieced together film taken from two unfinished Sedgwick vehicles -- one by Chuck Wein from 1967 displaying Edie at her peak as a Warhol star, and the other from 1970 by David Weisman and John Palmer, made when Edie appeared decimated from drug and alcohol addiction. The film is arranged in the form of a cinema verité examination of her life and lifestyle: the woman lives in an empty, covered-over
R, 1 hr. 24 min.
Television, Art House & International, Documentary, Drama, Musical & Performing Arts, Special Interest
Jan 1, 1972 Wide
Dec 10, 2002
Plexifilm
All Critics (10) | Top Critics (3) | Fresh (6) | Rotten (4) | DVD (5)
Monotonous and nearly incomprehensible.
At bottom Ciao! Manhattan is cruel exploitation -- though the film is dedicated to Miss Sedgwick's memory, an ultimate indignity.
You'll hate yourself in the morning, but you'll sit through it.
Not a great movie, but absolutely essential viewing.
Whether [Edie Sedgwick] is acting or stoned-for-real with a model's instincts propping her up, her performance is wonderful, highly amusing at all the right moments, yet melancholy in a way which is free of self-pity.
The film only seems to exploit her tragedy.
Two attempts at a movie spliced uneasily into one.
The narrative is rambling, but there are some genuine, inspired comic moments.
Ciao! Manhattan is ultimately a testament to the odd, elastic nature of the '60s.
Give credit to Edie Sedgwick's death for the popularity of this film, but even if she had lived it would've been an incredible and strange scrapbook of what the 1960's culture represented and how it worked. It's interesting to see because it's basically almost a documentary.
August 9, 2009Super Reviewer
It's been mentioned before, but Edie is the only real draw to this film. She is incandescent (probably because of the massive amounts of speed she was on) in the "flashback" 1967 scenes, and bordering on grotesque in the "modern" 1971 scenes. Either way, you can't really look away. She is a great and tragic reminder
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