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This James bond game is the best bond game i have played in my life it is my favorite James bond game so far because:
The missions in this game are really fun they can be really hard that makes it more fun to play the missions have lots of actions the weapons you use are really good. The cars in this game are awesome the car missions have lots of action and are really fun to play. The voice over actors are really good and it is cool that Sean Connery does the voice for James bond also the way bond looks is really cool because it looks just like Sean Connery when he played James bond in the movies and the other character look pretty much the same as the look in the movie. The graphics a pretty good in this James bond game. Also the game follows the movie pretty much but not all the but most of the time it does which is cool.
overall score ********** out of **********


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EA have shown us that they can make a classic 007 agent and make you feel in the 60's world. The graphics of the game are outstanding and also the voice recording is very professional. I got this game April 2007 (two years after release), and I am still impressed with the gameplay. It's a shame that EA will no longer make 007 games.
I give this game 10/10 for the levels it contains, especially the "consulate" level. I would recommend this game to anyone from the age of 13 and over. The only thing I didn't like in the game is the Russian boat level, it was too much pressure. On the whole I like the game A LOT!!


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** WARNING - CONTAINS SPOILERS! **
First of all, I would like to say that I really liked this game. I got it for Christmas after two months of dropping hints to my parents. I am glad that I did that.
First off, I would like to say that the single player was very good. The first level is probably one of the best in the game, when you are at a party in London, and some evil guys ruin it by kidnapping the Prime minister's daughter. Of course you have to rescue her, and it is quite a big level, but should probably take you at least five minutes. The best part, and I think also the funniest part, is when you are in the jet-pack, and people are rappelling down Big Ben. Just equip the jet-pack's most trusty rocket launcher and blast the clock faces and the enemies down. Pure fun!
The rest of the levels are very good, but pretty short. There are four mini-levels you can unlock, and that is one of the let downs, because only the first two of them are actually fun, and the last two to unlock are just 'kill 25 enemies' objectives, I mean, c'mon! We got loads of points to unlock these missions and the last two bonus missions are really bad!
The multi player, me and some of my friends agree, is very good and challenging, even if there are no bots. Halo didn't have any bots but that is still some fine multi player games! You can be a load of bad guys, and you go against each other, and you can also set traps, which is the best way of killing people without going into view of their character.
Gameplay - 8.5/10 (levels can be quite repetitive and bonus missions could be improved). Graphics - 9/10 (there is the odd bad graphic, but that isn't extremely often). Multiplayer - 10/10 (needs no comment, just great, you get to drive in jet-packs and vehicles). Sound - 8/10 Replay value - 7/10 (the only levels I go back on are the Loondon level and Istanbul Part 1).
I give this game: 8.5/10
Could have a bit of improvement, but it's still good.


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This is a very unusual film in that the star with the top billing doesn't appear literally until half way in. Nevertheless I was engaged by the hook of the Phantom Lady. Curtis, though competent as the falsely accused Scott Henderson, looks a little tough to be be sympathetic towards (perhaps he should have shaved his moustache) and his behavior when he first comes home should have convinced the cops at least to some degree of his innocence. While another commentator had a problem with Franchot Tone as Jack Marlowe I found his portrayal of the character to be impressively complex. He is no stock villain. Superb character actor Elisha Cook Jr. is again in top form as the 'little man with big ambitions.' His drumming in the musical numbers added a welcome touch of eroticism. This movie however is carried by the very capable and comely Ella Raines as the devoted would be lover of Henderson, Carol Richmond. She definitely has talent and her screen presence is in the tradition of Lauren Bacall. This is the first of her work I have seen and I am definitely inclined to see her other roles. The rest of the supporting cast is also more than competent. All in all a very satisfying film noir mystery which when viewed today fully conveys the dark and complex urban world it is intended to. Recommended, 8/10.


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Sadly not available on DVD as yet, but worth pursuing on TCM or VHS. A secretary believes her boss is wrongly accused of murder, and courageously takes on many dangerous characters in an effort to establish the truth. A movie with many twists and dark alleyways, none of which I will mention! The jazz band sequence where our heroine seeks the information about the killer, is one of the most erotic scenes in Hollywood history, despite being at very low budget and made during WWII in black and white. Despite the low budget - Long Island looks somewhat mountainous - this is a movie of original style and outstanding vision. Ella Raines was a great actress discovered by Howard Hawks who knew much about these matters, casting the feistiest women - Joanne Dru, Hepburn, Angie Dickinson, Lauren Bacall, Ann Sheridan - of their era. Robert Siodmak was of one of several German, Hungarian & Czech film-makers - Sirk, Wilder, Zinnemann, Lubitsch, Curtiz,Lang, etc - who émigrés relocated to Hollywood, and brought a highly original fresh vision with them. Sadly Ella Raines was never given such a great part again, and eventually ended up in poorly produced westerns.


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Scott Henderson, the engineer that employs Carol Richman, as his assistant, makes a point to call her "Kansas", whenever he speaks to her. It shows us that Carol, effectively played by Ella Raines, is supposed to be a babe in the woods, as far as the Manhattan of the 40s was concerned. Only a woman, from out of town, would follow the shady bartender to a solitary elevated subway. Even then, only a naive girl could undertake such an adventure.
Robert Siodmak directed this film noir very well. He shows a flair for infusing the story with a lot of raw sex that was surprising for those days. How else could we justify the way the drummer in the orchestra of the musical, where Scott takes the mysterious woman with an unusual hat, makes such an overt pass at a lady on a date? The drummer played with high voltage by Elisha Cook Jr. doesn't hide his desires for any of the ladies who sat in the front row of the hit musical where he plays. It was a real explicit invitation, first to the "phantom woman" of the story, Fay Helm; afterward, Cliff the drummer, insinuates himself very openly to Ella Raines who goes to the theater disguised as the mystery dame her boss had taken originally.
This is a film that will hook any viewer from the beginning. There are things not explained in it, but it holds the one's interest throughout. The killer is not revealed until the end.
Ella Raines with her expressive eyes was an under estimated actress. She holds her own against much more experienced actors. Franchot Tone, a New York stage actor, working in Hollywood, never found in this medium the fame he deserved. He is effective as the accused man's best friend. On the other hand, Alan Curtis, comes across as a man, who when framed, accepts his fate and is saved only by the tenacity of the woman who secretly loved him. Thomas Gomez, as the inspector Burgess, is an asset to the film as a detective who has his doubts the police had caught the man who committed the crime.
This movie will not disappoint.


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Robert Siodmak does a fabulous job with this B noir starring Ella Raines, Franchot Tone, and Alan Curtis. And he does it, I might add, without a lot of help from his male actors, i.e., Curtis and Tone. It's Raines all the way, a pretty, leggy actress who for one reason or another never reached the status of some of her "noir" counterparts.
Siodmak's use of sex, light, shadows, and music is truly remarkable as he tackles this genre. The shadows, lighting effects, and camera angles are all effective. But the highlight of the film takes place in a nightclub with a very sexual drum riff by Elisha Cook, egged on by an excited Raines. It's this scene that brings "Phantom Lady" into new territory.
Siodmak's commitment to the material is matched only by Raines, who gives a sincere performance as a woman in love trying to save her man. Franchot Tone phoned this one in. Alan Curtis didn't seem upset that he might die and didn't seem happy that he lived. And he never, except for a brief moment in prison, seemed to be in love with Raines.
The amusing thing about many of these films is that, as World War II progressed, interest in psychiatry deepened. But often the terms were used incorrectly in films such as "Possessed," "Spellbound," and "The Greatest Show on Earth." Tone is called paranoid by Thomas Gomez - Tone probably has some paranoia attached to his disorder, but he appears to be closer to a psychopath. In actuality, as evidenced by his headaches, he may have had a brain tumor pushing against his brain.
Phantom Lady doesn't have the greatest plot, but it's well worth watching.


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I can safely admit (as an IMDb geek) that 'Phantom Lady' will never crack into my film noir top twenty. It may not even sneak into the top fifty. But rather than discredit the film for not being as good as so many other classics of the film noir genre, it should be noted that 'Phantom Lady' has enough strong and lasting images in it to make it a worthwhile viewing. All that is required from the viewer is the ability to get beyond the dreadfully slow beginning.
The film doesn't get cooking until 'Kansas' (Ella Raines) sets about trying to prove all but single handedly the innocence of her boss, Scott Anderson (Alan Curtis), who has been convicted of murder. 'Kansas' is Anderson's secretary by day and amateur detective by night. As the novice sleuth she does quite well for herself while working the streets of New York at night. Little by little she starts putting pieces of a murder mystery puzzle together. To be honest, the film belongs to Raines and it is only due to her presence that the film works well at all. Somehow she is able to breathe life into a film about a condemned man who is not interesting in the slightest. I'm not sure if this splintered dynamic of a characterless leading man becomes the fault of the actor or the director, but clearly this is where something becomes terribly wrong with the film.
As interesting as Raines is as a novice detective, things really accelerate into another hidden gear when 'Kansas' pays a late night visit to a wandering drummer (Elisha Cook, Jr.) in search of some information to help her condemned boss. She and the drummer paint the town a new kind of red while visiting the "all night" jazz clubs. Trying to describe this scene will either prove an injustice to the scene or worse yet, it could ruin the scene all together. You'll know the scene once the last cymbal crash has finished ringing out. If you're lucky enough to have this film on DVD, you'll more than likely be rewinding this scene again and again. As good as Raines is, it is this scene that makes this film noteworthy. It is mainly because of this scene that I rate 'Phantom Lady' a 7 instead of a 6.
For the most part this film comes off as tepid and bland with a few great scenes and one magnificent scene. It is the 'drum/sex scene' that separates this film from any others of the same ilk.
And just like it is said in the film that "you never go wrong with Vanilla", I would also like to add that "going with Vanilla" is the safe fall back choice when one can't decide on having a tastier treat.
7/10. Clark Richards


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Scott Henderson (Alan Curtis) is unjustly accused of killing his unfaithful wife. The night she was murdered he was out with a mystery woman who refused to give him her name. After accused of the murder, the police visit all the places he had been with her, but people only remember him being alone. He's sentenced to die and his secretary (Ella Raines) sets out to find the murderer herself because she loves him.
This was made as a B film from Universal (look at the cast--all character actors and one star--Franchot Tone--on the decline). The budget was small and the cast mostly unknown but what came out is one of the best film noirs of the 1940s. It's beautifully directed by Curt Siodmak and has a fantastic script that came from an excellent book by William Irish (a pen name for Cornell Woolrich). It moves quickly and just looks fantastic. And there's the infamous jam session with Raines and Elisha Cook Jr. which just comes off the screen with incredible sexual energy (I'm surprised the censors didn't cut it).
There are only a few flaws that prevent this from being perfect. Tone gives a dreadful performance. He looks ghastly and he's just horrible. Also Curtis is stiff and bland as Henderson. You really wonder why Raines loves him--he's so unemotional. But Raines is pretty good in the lead role. She's pretty and full of life. Also the last scene when the murderer is after her never rings true. He's hardly a threat physically and her reactions just seem overstated.
Still I'm giving this a 9. A really great film--flaws aside.


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I rated this film 7/10 which is an average of 8/10 for screenplay, direction and 1944 production values and 6/10 for acting.My acting rating in turn was calculated at 4/10 for all the screen characters except for that played by heroine Ella Raines as Carol Richman who was excellent at 8/10.Also I commend Thomas Gomez as Inspector Burgess whose character convinces that he personally does not think the guilty verdict on Scott Henderson (Alan Curtis) was just in view of his naive alibi.These two then form an alliance to prove Scott's alibi.
I have this film on a "Suevia Film Noir Cine Negro" DVD in Spanish as "La Dama Desconocida" with the original soundtrack "Ingles" as an alternative language, since despite searching I could not find a wholly English version.I was however anxious to see another performance by Ella Raines after being impressed with her performance as a heroine in "Impact" playing a sole female garage proprietor.Here Ella performs another heroic role believing in the innocence of her engineer boss and refuses several suggestions that she should return to her home in Kansas (her boss's pet name for her) before solving the missing alibi.The fact that she is secretly in love with her boss is a little hard to believe since he formally just seemed to have had a formal business relationship with her.He had however designed children's homes and playgrounds so I suppose "family man" had lit up in Carol's brain.
In the 1940s with "the film code" in operation, producers could only portray sex through metaphors and here it is done in the form of furious drumming played by Elisha Cooke jnr.Carol dolls herself up as a girl of easy virtue in an attempt to lure the drummer into giving her information about "The Phantom Lady" alibi.The other main character, Jack Marlow (an associate of Scott Henderson) is played by Franchot Tone whose performance I found too theatrical and wondered why Carol, for instance, did not notice him constantly and strangely admiring his hands.Here the screenplay should have been improved and provided more suspense as these theatrical moves telegraphed the plot far too early to the audience.


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Scott Henderson (Alan Curtis) meets a mystery woman (Fay Helm) in a bar and invites her to see a show with him. She agrees on condition that they don't swap any information about each other - not even names. Sometimes these are the best kind of dates. However, when he returns to his apartment, Inspector Burgess (Thomas Gomez) and his team are waiting for him. Scott's wife has been murdered. His alibi is the mystery woman but no-one can remember seeing her and, as a result of this, Scott is sentenced to die for the murder of his wife. His secretary Kansas (Ella Raines) is not convinced of his guilt and sets out to find the woman who can save him from the death penalty.
This is a good film and the viewer is 100% behind the attempts of Kansas to get to the truth. We follow her through some memorable scenes, eg, her pursuit of Mac the bartender (Andrew Tombes) at night and the claustrophobic venue where Cliff the drummer (Elisha Cook Jr) takes her to hang out, drink and dance while he jams with his friends. This is such a blatant depiction of sexual desire that it is a stand-out part of the film as everyone sweats intensely and rhythmically for the duration of the scene. Ella Raines is good in the female lead role and Thomas Gomez makes a likable policeman. Alan Curtis started well as the confused, innocent man, but once he is arrested his performance took a left turn as he became thoroughly unpleasant to Kansas for no reason. God knows why she stuck by him.
The film doesn't keep you guessing as to who the murderer is as we know from about halfway through the film, but this doesn't matter. In fact, it adds to the tension and dramatic development of the story as we will Kansas to discover what is going on and then to get the hell out! It's a good film with some great scenes but although Elisha Cook Jr has a memorable role, I just never like him in anything that I see him in.... someone hand me a neck-tie.....


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For the attention of Chuck Davis and Emefy: I saw PHANTOM LADY many years ago, when I was not yet a jazz buff. There is an exhibition going until end of June in Paris's brand new MUSEE DU QUAI BRANLY, named LE SIECLE DU JAZZ, not to be missed, with as a special entertainment NINE excerpts from jazz movies, including PHANTOM LADY's famous drums sequence. I've seen Gene Krupa - and Elisha Cook Jr - in almost all their film appearances, and I can confirm the following: 1.Elisha Cook Jr was DUBBED in the movie. That was some progress, since in most of his other appearances he was KILLED (mainly in Howard Hawks's THE BIG SLEEP). 2. Krupa probably dubbed Cook in PL. I could recognize his style, since he had already graduated from the tom-tom used (and abused) at the beginning of his career - namely in 1937's Hollywood HOTEL's SING, SING, SING sequence - and eventually got everything that was possible from what we call in French "la caisse claire". 3. The sequence from PL, at least as shown in the Museum,is not censored.harry carasso, Paris, France


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A bizarre and brilliant combination of talents between the director, Robert Siodmak and Ella Raines as a secretary trying to save her boss from the electric chair by tracking down a mysterious "phantom" woman, and Franchot Tone as a crazed and murderous sculptor. As well there are some fascinating smaller parts played by Elisha Cook Jr as a drugged out trap drummer, as well as the other characters who make up parts of the conspiracy. If you're used to seeing Raines in more wholesome parts, she's allowed to go overboard here, especially in her scenes with Cook. Franchot Tone also plays someone very different, and though it isn't a convincing part, he acts phenomenally. While the conspiracy is too contrived, the film has real atmosphere and is very interesting.


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This noir may not be the best remembered film from the era, but it features a great mystery plot, the common noir atmosphere and some good performances from its lesser known cast members. Robert Siodmak, the talented director behind the mystery/horror classic 'The Spiral Staircase' directed this film two years earlier than the aforementioned film, and shows a real flair for creating a dark and brooding atmosphere as well as creating a plot that both intrigues and fascinates the viewer. Phantom Lady focuses on Scott Henderson; a man married to a woman he doesn't like. He picks up a lady in a big hat in a bar one night, and the two agree to a 'no strings attached' night of fun. However, he then returns home to find his apartment infested by police officers and soon finds out that the reason they are there is because his wife has been strangled with one of his neck ties! He's dismayed to find that no one he saw while with the mysterious woman can remember her, and naturally the jury sends him down for the murder of his wife. However, luckily for him his beautiful female employee gets on the case...
The plot moves along nicely throughout, and unlike many of the better known noirs, this one features a few murders which make the proceedings more interesting. In fact, if it wasn't for the fact that it was made in the forties and shot in black and white, I would swear Phantom Lady was an Italian Giallo! The central characters are all interesting enough, with Alan Curtis providing a good portrayal of the unfortunate victim, and Ella Raines being effective as the female impromptu detective. The real standout of the film, however, is Franchot Tone, who provides a memorable performance as the insane villain of the piece. The film also features a role for supporting actor extraordinaire Elisha Cook Jr, who features playing the drums in the film's most memorable segment. If I was to criticise this film, I would say that the identity of the murderer is revealed a little too early - although Phantom Lady does deserve some credit on that front for the original way it goes about it. The conclusion is satisfying and everything makes sense (which is amazing considering the unlikely plot line) and overall, Phantom Lady is surely one of the greatest and most under-seen noirs ever made!


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Other reviewers have summarized this film noir well. I just wanted to add to the "Whew!" comment one reviewer made regarding Elisha Cook's obviously coke-fuelled drumming episode. This WAS a doozy, I must say. Cook deserved some acclaim for his frenzied performance.
A bit of trivia that I am surmising about: Cook appeared as a waiter in the 1941 Barbara Stanwyck film, "Ball of Fire." He was a waiter in the nightclub where Barbara was singing and legendary drummer Gene Krupa was drumming, most energetically. Is it too much to suggest that Cook's spazzy drumming in the later film, "Phantom Lady," was very much inspired by Krupa's work, as witnessed by Cook 3 years earlier?
If you watch Krupa in "Ball of Fire," I think you'll note some clearly similar body movements. One hopes, of course, that HE was not influenced by any drugs at the time!


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This is a "B Series" Film Noir, and my vote reflects its membership in that genre. I saw this film last night at a left-bank cinema in Paris, where it opened a two-week film noir run. The film has some flaws, yes, but far too many delicious elements to ignore.
As the previous reviewer remarked, the drumming scene is incredible! (B-movies could tread where A-movies were forbidden to enter!) And the plot is intriguing. Regarding Franchot Tone, however, I beg to disagree: to me, he's suitably mysterious; just the right shade of creepy. One must bear in mind that there's a sort of German expressionism happening here (the director, Robert Siodmark, was a German who came to Hollywood during the war), and so an air of exaggeration fits into the whole of this film. At least it does for me.
However, it's the gorgeous Ella Raines who, in only her third credited performance, held this viewer entranced throughout the film. A "Girl Friday" type with a strong resemblance to Gene Tierney, it's a wonder that she didn't become a household name. But she's so good here that I've just ordered another film of hers ('Impact') off the Internet, and I can't wait to see it as well.


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Drum scene is wild! Cook, Jr. is unsung hero of this and many movies. Fantastic actor, great flick. A few twists that keep you moving. A must-see.


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Ella was excellent, Franchot was unavoidably over-the-top (But he played similar parts in other films such as "The Man on the Eiffel Tower") and Alan was nearly non-existent but the film certainly "thrilled".
*mild spoiler ahead*: I wonder how many times Elisha Cook got strangled in his films but I seem to recall various other examples. I will avoid naming the murderer but I think it's necessarily obvious because of the plot "thriller" demands.
A very well-done but dated film noire (for example: everyone smoked like crazy and the police were really stock characters. And no dead bodies were ever shown, unlike today's gore fests.) done in the familiar short-scene tableaux format of the period.
8 out of 10.


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Pretty good picture about a man being in the wrong place at the wrong time. If the murderer wanted to whack the dame, why not just off her and let the cops try to figure out whodunnit? Involving all these characters in the plot is dangerous, not to mention all the mouths you'd have to worry about staying shut. Why did the depressed lady go out to the bar when she could barely sit up in a chair or say a word? Are there really cops out there who are wise cracking, gum popping, grinning apes who approach a suspect in such a glib manner? This probably played well back before the wheel was invented, but it is so corny and unbelievable today. Catch the manic drum break by Elisha Cook; his frenetic hammering never once matched the recording. His mad facial expressions made up for the off kilter stick sync.


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The premise is a bit better than the execution, but that doesn't mean the film is worth a look. Splendid supporting cast makes this a fun mystery to unravel. Raines is great as the resourceful woman determined to solve this puzzlement. I always enjoy Thomas Gomez.


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Actor Herman José plays the role of a football of a soccer entrepreneur that acquires the pass of two African players and tries to sell them for very little money to the rival club of the Benfica (club of its heart),FC Porto, therefore these players did not play well, and it wanted that the FC Port was wronged with this. But what happens is that these two players after all are good and FC Porto sell them for much money to a foreign club, making a good business. The film, for a small country as Portugal, without great antecedents in great films, is a very good and funny comedy, showing all the rivalry that exists between North/South of Portugal (FC Porto/Benfica). Highly recommended


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I felt a great joy, after seeing this film, not because it is a master piece, but because it convinced me of, that the Portuguese cinema became really very good. We can see here the best Portuguese actores in this field.


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Along with Fernando Fragata, João Mário Grilo, Abi Feijó, Leonel Vieira, étc...(other commercial directors), Diamantino Costa is one of the best Portuguese Directors; "O Lampião da Estrela" was his (Diamantino Costa) First movie, before he made several successful commercials. This title is starred by one of the best Portuguese comedians of all times, Herman José and José Pedro Gomes are great. Its a very funny movie!! (28/07/2000)
BOA SORTE DIAMANTINO...


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True fans of film will love this authentic movie.
I disagree with the trolls who are rating this movie a one-star and calling it unrealistic. While I don't have the background or come from the environment of the protagonists, I've spent many years working in lower income and working class neighborhoods and feel the acting was very real and representative of how teenagers behave. I don't know what the basis is for others' comments that the film is "unrealistic". The dialog is great.
The low budget production value didn't bother me a bit. I felt that the natural lighting enhanced the character of the film. The focus was entirely on the story line and character development and not glitzy Hollywood propping or melodrama.
I completely bought into the character's motivations and reactions. The acting was believable and impressive for new and non-actors.
If your idea of good film is Transformers or Fast & Furious, then skip it. If you enjoy good character driven dramas, then see it.
(Regarding the negative commenters being "trolls": click on their names and you will see most have no other reviews or only negative reviews.)


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I saw this film a while back and it's still at the top of my 'favorite movies' list. It is amazingly put together and what really makes the film are the detailed tid bits (such as the 'Cafe Bustelo' coffee crate being reused as a cup to wash her grandsons hair) that people aren't seeing because YOU WILL NOT UNDERSTAND THIS MOVIE UNLESS YOU ARE HISPANIC. This is just one of those films that is very culturally specific and particular. Please do not bash this film if you have no prior knowledge of what foundation it's being built upon. I completely see what the writer/director was going for, and he hit the target perfectly! This film is highly deserving of a better rating.


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Incredibly intriguing and captivating, I found it impossible to turn away once I began to watch. I am usually one of the harshest critics but to me this film was just brilliant, strange as this may sound I could almost smell the air and feel the textures of the locations.
From a cinematographic I thought there was great use of light and texture. From the orange glow of the summer light, down to the plastic wrapped couch all had a distinct air of realism to me.
From a character perspective I thought the notion of Victor Vargas as almost the glue that connects the story was quite inspired, each of the other members of the family having a more complete background simply caused greater intrigue in the main character himself.
Beyond that, having known someone just like the grandmother and having been on the receiving end of just such a situation, I can say the situation felt particularly realistic. The awkwardness, the accent, the cooking and even down to the comments made felt so authentic to me.
I think this film worked for me because I began to watch it with no expectations and found it completely immersing and brought back memories of teenage emotion, well worth a watch.


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"Victor doesn't have much, but that's not stopping him from trying to go out with Judy, the prettiest girl on the block. All he's got is hope and a one-bedroom apartment he shares with his family. His grandmother doesn't trust him, his brother worships him, and his half-sister just declared war. But Victor thinks love really can conquer all in this warm, genuine, and touching romantic comedy about life in the part of the city most people never see," according to the DVD sleeve's synopsis.
Peter Sollett' "Raising Victor Vargas" elicits engaging "debut" performances from lead actor Victor Rasuk (as Victor Vargas) and the cast. Mr. Rasuk and juicy Judy Marte (as Judy Gonzalez) are sexy and endearing as "Lower East Side Kids" discovering the joy of sexual attraction. Considering how attractive they look in this picture, it's not hard to predict they hook up - and, although you may wonder how "innocent" they really are, their characterizations seem true.
Victor's brother "Nino" is played by Victor's real-life brother Silvestre Rasuk, who looks the part his older brother is playing. Sometimes, it's nice to see movie brothers who actually look alike; and, hopefully they will work together again. "Cuckoo for Cocoa Puffs" sister Krystal Rodriguez (as Vicki) and old world Altagracia Guzman (as Grandma) round out the sex-starved Dominican immigrant family. So, are hand-held-camera coming-of-age films in vogue, or what?
******* Raising Victor Vargas (5/16/02) Peter Sollett ~ Victor Rasuk, July Marte, Silvestre Rasuk


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Peter Sollett has created an endearing portrait about real people living in poverty in the Lower East Side of New York, or Loisaida, as it's known by the locals.
Mr. Sollett's heart is in the right place as he examines this dysfunctional family, that is typical of the different 'inner cities' of the country. Mr. Sollett accentuates the positive in the story he presents. These are basically good kids, the children of parents that have left them and whose grandmother has taken under her wing.
Instead of presenting his characters as losers, Mr. Sollett shows a positive side they all have. These kids are not into drugs, or are stealing because they are poor. Had this story been done by Hollywood we would have seen a parade of stereotypes, instead of children that are struggling, but deep down inside, they are not defeated.
Victor Rasuk, as Victor Vargas, was a revelation. He is a natural. So is July Marte. Her character shows us a no nonsense girl who will not be fooled or driven to do anything she doesn't want to do. Altagracia Guzman, as the grandmother is excellent. She conveys her frustration at not being able to steer her grandchildren into the things she believes in and that are so important to her.
All in all, this was an excellent picture thanks to Peter Sollett.


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I have no idea how IMDb sorts reviews but I do know that, as happens often on Amazon.com, there are a striking number of very negative reviews for this movie which repeat the same, somewhat obscure talking points, almost verbatim. A campaign? Only IMDb knows.
As for this movie: it's fine. It's a funny, cute and very straightforward movie.
It's been over a decade since I worked in Brooklyn, lived in Queens and visited relatives in the South Bronx. But I found nothing inauthentic or exploitative about these kids. Is the grandmother a bizarre character? Yup. Do the dialogue and plot acknowledge this? Yes, thankfully, they do. Are other movies set in the LES and featuring Dominican / Puerto Rican kids possible? You betcha. Does that make this movie a crime  as some of the (to my eyes, astroturf) comments would suggest? Hardly. Let a thousand plastic flowers bloom.
This is better than any episode of Degrassi JR. High or Degrassi High. Scoff at the comparison but _we've never had that_ and I'm touched, to the core, by this movie's humility of purpose and tender spirit.
That said, I'd love to know the backstory behind all this backbiting! :-D


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This movie feels like a film project. As though the filmmakers picked out a cross section of society with no experience and got to work. Characters are kind of uninvolved and naive though. Despite this amateurish feel, the movie is effective. It's like a cross-section of life with neighborhood kids trying to realize or nurture their honest sexual feelings. Being raised by a grand-parent, of course from that generation there is shame associated with sexuality. This provides for some predictable but well done conflict. Probably most enjoyable was the way the main character grew a little bit in his Romantic relationship realizing a greater depth to sexual feelings. A good watch but nothing stirring....


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If you still remember that summer when you had your first kiss, first boy/girlfriend, or first puppy love fling...this film is for you! OK so this movie would and will never win an Oscar BUT as a Dominican I loved it...there are some things in the movie that might just go right over your head if you are not part of the culture...the kids being raised by a grandma who's both mother and father, the youngest son being babied and bathed with a Cafe Bustelo tin (sooo Dominican!), Judy being harassed by the neighborhood men, going to church and lighting a prayer candle...the film's brilliance was in those small details. Granted, it was not a pull out all the works cinematic extravaganza but it wasn't meant to be NOR was it meant to be an educational tool for those wanting to learn about Latin culture ( tip: make new friends instead). More of a bitter-sweet, faux-cumentery, this film kept it real without taking itself too seriously. As in the tradition of "Y Tu Mama Tambien" this was simply one boy's coming of age tale. I recommend it (especialmente si eres Dominicano!) =o)


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Wow! I loved this movie and LOVE Judy Marte!! This girl isn't just an awesome pretty face, she's funny and really really talented!! She made me laugh many times just by being very naturally rough with Victor who was desperately hitting on her! We'll be seeing her a lot in the next coming years... and probably also from director Peter Sollett and co-star Victor Rasuk!
Raising Victor Vargas is one of the best film I saw in a long time! Very refreshing! It's true, nice, funny, well filmed, it got it all : good story, good actors, good film direction!
If you like simple, slow paced, real life, urban movies, like maybe Jersey Girl from Kevin Smith, you'll love Victor Vargas! It's better!


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One of the best films I have seen in the past five years! The cast is universally spectacular in a tale of young love and bravado on the Lower East Side of New York City with the two leads being superstars in the making. Funny, charming, sad and inspiring, this is a totally refreshing take on urban youth that puts Larry Clark's often-nauseating shtick in the gutter where it belongs... although I have to admit that Bully was a cut above his normal fare. Raising Victor Vargas is one film you will kick yourself for missing... so don't miss it!


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This movie works because it feels so genuine. The story is simple and realistic, perfectly capturing the joys and anxieties of adolescent love and sexuality that most/all of us experienced during our teen years.
The actors are as natural as figures in a documentary but are as convincing and as charismatic as seasoned performers. The dialogue is fresh and honest... and thankfully not filled to the brim with cutesy pop culture references. Also, the cinematography is at once gritty and beautiful, bringing the Lower East Side setting to life in a very tangible way.
On an artistic level, I love this movie because it reminds me of great Italian neo-realism films like The Bicycle Thief and La Strada. Movies rarely feel as "real" as this does ... or as Bicycle Thief did. And the only other movie I've seen that treats teen sexuality with the same level of seriousness is Elia Kazan's Splendor in the Grass. Writer/director Peter Sollett deserves tremendous praise. This film is quite an achievement.
On a personal level, I am always glad to see a movie that treats members of ethnic America with love and respect. As an Italian-American, I hate the way my own people come off in the cinema (as racist, womanizing, criminal geniuses in irritatingly popular epics), and my aggravation on this count makes me acutely sensitive to other groups and their awful silver screen representations. Hispanics and Asians in particular seem cursed to playing villains in Westerns and action movies. (Good thing Gong Li didn't try to become famous in America!)
Of course, thanks largely to the rise of indie pictures, and the influence of Miramax, we are seeing a few more pictures about ethnic characters here and there ... but Raising Victor Vargas is easily one of the best. While I do really like My Big Fat Greek Wedding, it is a refreshing change that Raising Victor Vargas is played straight (with less exaggerated and broadly-drawn characters) while still being very funny in its own right. Finally! Latino characters worthy of note. I have a feeling that this is a film that will be remembered.
Of course, now that he has made this wonderful picture about a family from the Dominican Republic, I hope Peter Sollett gets around to making a movie about Italians soon! :) - Marc DiPaolo


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Raising Victor Vargas is a movie you definitely need to see. It was very heart felt and had a lot of humor that gets you sucked right in. It is so much like real life with what teenagers have to go through. Victor, a cocky teen, but with a good heart at the end deals with love in all the right places dealing with girls and family. At the end Victor learns the true meaning of love after dealing with a old fashioned grandmother and a girl who he wants to use is actually using him too.I recommend people to watch this movie because it will be like you are watching a real family. Thats how much feeling this movie has. One heart felt moment was when Victor's grandmother throws victor out over something simple. Victor was really heart and couldn't believe that she would do something like that. It made me feel real sorry for him like it was real. Overall I give this movie a B+


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There are plenty of reviews on this page that will explain this movie's details far more eloquently than I could; but I would like to offer a simple review for those who occasionally go to the movies for more than entertainment. Raising Victor Vargas is so true you will believe it. This flick gets inside your head.


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One more of those brilliant young men who went all out and dared to make a teen romance film( can i actually call it that?- it would invoke the devil out of its fans)on a micro budget but packed with such taste, sensitiveness and maturity. Peter Sollett- you deserve more admiration and respect.Thanks once again for demonstrating to the powers that be in the "industry" that stereotypes can be flushed down the toilet. One location,a handful of rich characters, low budget,good acting(and that too amateurs),decent lighting - worshippers of true indie cinema should watch more of this and STOP watching...well...you know what.


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I'm surprised how many people give this move less than 7 stars.
But they just don't understand the movie.
The story is about growing up in a difficult situation.
There is a crazy grandmother who really wants the best for your grandchildren.
And there's good reason why so many critics like this movie.
And the reason is because they understand the movie.
I feel sorry for the low scores given by some people.
I wish I could just write a brief summary of a movie but IMDb requires you to write 10 lines.
I frankly don't have anything else to say.


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This film captures the true struggle with identity that is ongoing in our teenage years. It is really moving and it feels strangely like a documentary-not contrived but very real. It is very interesting and unsettling


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For what it is, "Raising Victor Vargas" is about as close to perfection as a film can get. Either sheer genius from a fledgling auteur or just one of those lucky mixes where everything clicked (probably some of each), this simple little slice-of-urban-life ethnic first love flick fleshes out its young characters with such depth you can almost read their minds. The film begins with a strong flavor of "street" but works its way into a Latino family affair and then focuses on a story which speaks volumes about the uncertainty of youth and the profoundly natural desire to love another. In my experience, never has so much been done with so little (cast of tyros, novice director, etc.). Praised by the critics but not for everyone, "Raising Victor Vargas" is recommended for indie lovers and realists into simple tales rich in humanness. (A)


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This film is underrated. I loved it. It was truly sweet and heartfelt. A family who struggles but isn't made into a dysfunctional family which is so typical of films today. The film didn't make it an issue that they have little money or are Dominican Republican the way Hollywood have.
Instead the issue is Victor is immature and needs to grow up. He does, slowly, by the film's end. He has a ways to go, but it was a heartfelt attempt to move forward. His grandmother is very cute and the scene where the little boy throws up had me laughing for the longest time. A truly heartfelt indie


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