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Tony Manero
Directed by
Pablo Larraín
TV-MA
2008
1h 37m
Drama
,
Music
6.8
85%
60%
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A man is obsessed with John Travolta's disco dancing character from Saturday Night Fever (1977).
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Where to Watch Tony Manero
Kanopy
Free
OVID
Subscription
Cast of Tony Manero
Alfredo Castro
Raúl Peralta
Amparo Noguera
Cony
Paola Lattus
Pauli
Héctor Morales
Goyo
Elsa Poblete
Wilma
Maité Fernández
Maria
Marcelo Alonso
Rumano
Marcial Tagle
Vidrero
Rodrigo Pérez
CNI Agent 1
Enrique Maluenda
Television Host
Antonia Zegers
TV Producer
Greta Nilsson
Cashier
Luis Uribe
Tony 5 (Winner)
Sergio Monge
Tony 1
Jaime Silva
Projectionist
Fredy Huerta
Bag Man
Juan Pino
Tony 3
Ruth Orellana
Wallet Woman
Sebastián Pinto
Tony 2
Francisco González Hermosilla
CNI Agent 2
Tony Manero Reviews
Los Angeles Times
Kevin Thomas
Larrain evokes the bleakness and oppressiveness of life in a police state with much subtlety even as he poses a much larger question about cultural imperialism.
New York Times
Stephen Holden
More than an indelible portrait of a sociopath with the soul of a zombie, Tony Manero is an extremely dark meditation on borrowed cultural identity.
Entertainment Weekly
Lisa Schwarzbaum
Larrain's (literally) dark, edgy movie is a precise artistic commentary on Augusto Pinochet's miserable regime, which was under way while Travolta gyrated.
New York Post
V.A. Musetto
Shot with a hand-held camera and presented in a fragmented scenario, Tony Manero is the director's compelling attempt to find parallels between the Pinochet reign of terror and Ral's scruple-less antics.
Slant Magazine
Nick Schager
A magnificently deranged study of overboard pop-culture fandom and authoritarian rule's destructive effect on its citizenry.
Latinx Lens
Rosa Parra
It's not an easy watch but it's an intriguing look at an unlikeable protagonist.
Salon.com
Andrew O'Hehir
A memorably claustrophobic evocation of its time and place, as well as a reminder that the so-called escape offered by pop culture can sometimes be an escape into soul-sucking madness.
Village Voice
J. Hoberman
Tony Manero has a purposefully murky look and a frantic feel.
Compuserve
Harvey S. Karten
Remarkable Chilean actor Alfredo Castro portrays a sleaze-bag standing in for people desperate psychologically to escape from dictator General Pinochet's brutality.
Boxoffice Magazine
Wade Major
Larrain's consciously raw execution in telling the story of a compelling but ultimately unsavory character is an id-bending exercise in provocation that's both competent and challenging.
Bryant Frazer's Deep Focus
Bryant Frazer
Perhaps best appreciated as a deadpan dark comedy about how ignorance, delusion, and selfishness can conspire to keep a people under the bootheels of a dictatorship.
NewsBlaze
Prairie Miller
A distortion of the historical record that is irresponsible and reprehensible. And a display of deplorable disregard by the director as irreverent whim for irreverence's sake, for the many who suffered and perished from Pinochet's crimes against humanity.
Film-Forward.com
Kent Turner
For actor Alfredo Castro's sinister steely stare alone, Tony Manero memorably stands out weeks after its screening.
EmanuelLevy.Com
Emanuel Levy
A highlight of the Cannes Fest, Larrain's Tony Manero, Chile's Oscar entry, is a poignant study of the excessive impact of pop culture (Travolta's Saturday Night fever) on one deranged man, set amidst Pinochet's dictatorship of the 1970s.
New York Press
Armond White
Cinephilia -- the smart-about-movies concept about the love of film -- has been so distorted in contemporary movie culture that it has led to the repugnant Chilean film Tony Manero.
Capital Times (Madison, WI)
Rob Thomas
Larrain's film is primarily a character study of Raul, an unpleasant but unforgettable man who is part "King of Comedy" Robert DeNiro, part "Cape Fear" DeNiro.
MTV
Kurt Loder
Could this be ... art?
Filmcritic.com
Chris Cabin
Films are, in a way, just collective fantasies... and, in some cases, nightmares
Seattle Film Blog
Kathy Fennessy
While some critics have described the film as "ugly," both literally and figuratively, there's a cruel beauty to [Pablo] Larraín's assured direction, the Super 16 cinematography (blown up to 35mm), and occasional, disorienting out-of-focus shot...
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