Flashily but irritatingly shot, full of unmotivated switches from colour to b/w, sudden flashbacks, mannered slow mo and jump cuts, this is hardly a subtle evocation of its subject's life.
Piņero (2001)
Tomatometer
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Reviews Counted:61
Fresh:26
Rotten:35
Average Rating:5.4/10
Consensus: Though Bratt is great in the title role, the biopic itself is messy and Piņero grows tiresome.
Rated: R [See Full Rating] for drug use, strong language and sexuality
Runtime: 1 hr 43 mins
Genre: Dramas
Theatrical Release:Dec 14, 2001 Limited
Box Office: $198,291
Synopsis: Miguel Piņero was a New York City poet and playwright who wrote what he knew: a world of "stabbing, shooting and dying." This gritty, non-linear biographical film presents Piņero's dark charisma... Miguel Piņero was a New York City poet and playwright who wrote what he knew: a world of "stabbing, shooting and dying." This gritty, non-linear biographical film presents Piņero's dark charisma and even darker life in all it's angry glory. A junkie, a drug dealer, and a thief, Piņero (played by Benjamin Bratt) spent time in SIng-SIng prison, an experience which was the basis of his most famous play, SHORT EYES, which won the Tony award in 1974. Piņero also pioneered the spoken-word poetry (the forebearer to rap and hip-hop) of the Nuyorican Poets Cafe, which he helped found. Mixing digital video in color with 16mm film in black and white, the film creates a convincingly harsh and lively portrait of life on the mean streets of Lower East Side Manhattan in the 1970s and '80s. There were a number of people in Piņero's life who recognized his genius and tried to save him from self-destruction: his mother (Rita Moreno), theater impresario Joseph Papp (Mandy Patinkin), and his longtime girlfriend (Talisa Soto). But the allure of crime and drugs won him over, and Piņero finally crashed and burned, dying young in 1988. This film is a passionate tribute to a passionate artist who remains an important Puerto Rican-American icon. [More]
Starring: Benjamin Bratt, Talisa Soto, Mandy Patinkin, Rita Moreno
Starring: Benjamin Bratt, Talisa Soto, Mandy Patinkin, Rita Moreno, Jaime Sanchez, Giancarlo Esposito
Director: Leon Ichaso
Director: Leon Ichaso
Screenwriter: Leon Ichaso
Producer: Fisher Stevens
Studio: Miramax Films
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Release:
Jul 16, 2002
Reviews for Piņero
God is jealous of Benjamin Bratt, but He's coming around Bratt's performance [here] is electrifying and charismatic.
Overlapping the artist's biography and his work, writer-director Leon Ichaso pointedly reflects the chaos in his subject's shortish life, but he links the artist's frustrations and talent in the usual manner: as cause and effect.
You get the feeling Ichaso is trying to bluff us into becoming believers.
Seems like it's scrawled in blank verse on the back of a greasy paper bag -- and that's a compliment.
Never comes close to convincing us that this guy is worth a movie at all.
Biopics about inebriated artists are always stranded by their own non-stories, and Piņero's short life was apparently little more than a series of dimebag mooches and public stumbles.
What makes the film so grueling and, eventually, tiresome is the relentlessness of the guy's self-destruction.
Who'd have thought Benjamin Bratt could give such an impassioned, stormy, totally absorbing performance that he would leave you gaping in astonishment and admiration?
Director Leon Ichaso circles around the life and the work of Piņero with an intensity that matches the Puerto Rican-born artist's creativity.
It's impressionistic and risks incoherence, but it works as a successful montage of the unruly life of a sensitive, talented, but conflicted man whose self-destructiveness it never tries to sugarcoat or deny.
Bratt's fast-talking, all-attitude interpretation is showboating without soul--which can be said of the entire movie.
Offers a highly impressionistic portrait of this self-described 'junkie Christ,' played with riveting intensity by Benjamin Bratt.
For all the film's spectacle, its visual flash and approximation of street 'realism,' its most daring aspect is its willingness to represent Piņero as a vicious, frightened thug.
The film's rhythm is so deftly crude it unwinds like an underground 80s cinematic relic.
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