I love this movie so much

Nice effects though.

This film is so real. It treats its characters with so much care and sensitivity.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

To me this film caught my attention in romance because even though the victor wanted to go out with Judy, victor never gave up kept trying fight for what you truly want that like in the path of God but you gotta fight to the very end but not with you strengthen but with Gods when you really have something in front of God a blessing to get it you have to be obedient living in holiness looking for him in spirit and truth each day and also interest me that in the end victor got with Judy even though Judy didn't want to get close to him cause she was scared but it kinda like the word of God but the word of God is better it breaks threw and change and restore.Real interesting the location of where it is that my hometown i lived near but i remember me being in love i used to do everything i could o take care of her buy her a lot of things also running like 12 blocks just to pick her up from school each day were always together but in the end i broke her heart, sad but you learn what you had into you lose it life is full teaching but each teaching you learn from your decisions and each outcome is your decision cant blame no one else if your decision wasn't in their hands

The opening shots of Raising Victor Vargas plant us behind the eyes of a female, a female who is fulfilling the role of another male's erotic affection, as the camera itself focuses square onto his expression. For a coming of age film, which revolves around a young and predominantly English speaking male, to begin in such a manner alludes to a later intelligence the film will go on to exhibit; its pulling of a one hundred and eighty on its audience under these terms of what's usual or might be expected under this premise to a scene intriguing. Ultimately, the audience is made to suffer the indignities of male longing via being placed behind a female's point of view and made to sit through what, to some, has plagued cinema since the latter days of Hollywood's classical era. It's a refreshing instance of a film turning things on its head, of mixing things up and trying to do something renowned or familiar in an unrenowned or unfamiliar way. To this extent, the opening captures the spirit of this determined film making effort, specifically in its regard to its characters and how it goes about depicting familiar material.The film is an independent American piece written and directed by Peter Sollett, a film shot on location across summer weeks in the American city of New York and preoccupied with depicting an array of characters in a Hispanic quarter of said city. At its heart, it is about a maturing process; a film playing out in a sweltering urban locale wherein the smart play appears to be to wrap the sofa so much is the desire to avoid those who often inhabit it from smelling out the apartment too much. It depicts the young man who filled the frame during that opening shot, and he is Victor Rasuk's titular Victor Vargas – someone who lives with a sister, brother and their grandmother in an apartment block but of whom also has a close circle of friends and acquaintances outside of this family unit.Vargas likes girls. He likes the idea of girls and the idea of people knowing he has the idea of liking girls – in spite of this, he remains on the outside looking in at them in regards to truthfully knowing any of them. You might say that it is during this opening scene that the confusion and scattergun nature of Victor's life in terms of the opposite sex is epitomised, for Victor inhabits the bedroom of a young female neighbour whom nobody thinks it attractive – fleeing in a panic when word rapidly gets out once he is spotted. So desperate is he for love and affection and all the things which come with possessing a girlfriend, that Victor had to 'sink' to a level that saw him go after this neighbour: something which threatens his masculinity with a two-pronged attack, in as much he didn't get the girl and now must live in ignominy at the fact going for a girl most could have was the easy, desperate option.A form of what he sees as redemption arrives in Judy Gonzalez (Marte), the local girl who ticks all the right boxes in terms of what the young male population are looking for, and a girl who's so aware of what her own looks encompass in terms of male encroachment that she is a staunch rejecter of most advances. "Who needs men, right?" she tells a close friend. She is, of course, the object of Victor's gaze at the local communal swimming pool; an unfortunate spot which will attract all the kids during this hot season but force them into wearing not very much as they attempt to battle the heat. Her response, as is with most men after having been the victim of a proverbial sizing up, is a resounding "No." Away from the central strand is Victor's brother, Nino - played by Rasuk's real-life younger brother Silvestre. Nino looks up to his brother's womanising ways, but epitomises a more righteous incarnation of the male gender: a boy on the brink of a certain stage in life who could sway into the fatuous, womanising ways of Victor or down a more righteous path. At the moment, he attends church and enjoys playing the piano – this is not only Victor's tale of how he can score Judy running in sync with what he learns along the way, but it is tells a story of how positive influence in this regard may change the dynamic of a younger head who idolises someone close to them.The film comes to depict Victor's changing attitudes; a character who comes a long way from inhabiting the bedroom of the local desperado romantic, because he just doesn't care with whom he is laid, and into someone who genuinely comes to like a certain someone else through naturalistic processes. It is a film challenging the nonsense of how Latino characters are often depicted as possessing more photogenic qualities than others, while there is a fascinating dynamic at the homestead involving his grandmother, whose traditional thoughts on all this stuff clashes vehemently with the early 21st Century, New York City based sexual politics. As far as American, English language films that go about depicting young love; sexuality and the like, Raising Victor Vargas hits the target.

Why anyone would rate this unfavorably is beyond me? Loved this movie. All the talk about ethnicity I think was out of place. To me it was more a story of a grandmother trying to raise kids going into puberty yet still holding fast to her values, though she learns eventually to be flexible. And for those too crass or wounded to remember what innocence was like and coming to terms with trying to mature as a teenager, maybe they should watch this film till the'penny drops'and they 'get it!' Superb film, especially from a filmmaker just starting out.Judy Marte was extraordinary. Her eyes captivate and her face gives off this air of mystery. I found myself wanting to delve more into the character she was portraying by her acting. I hope more good roles come her way to showcase her talent. The entire cast were enjoyable.

Not too dramatic, but still lively and entertaining. Realistic and human. Warm, good movie. I thought the characters were touchable. I especially liked the little brother's character. His younger sister was a lively depiction of everything we hate about little sisters. The grandmother's character was very believable, well played and dynamic. I felt myself feeling hopeful for the family when they were attempting "the new beginning". This movie was a mature, big step away from the stereotypical movies created featuring Hispanic people. It was also more intimate and more believable. I enjoyed it more than what I expected to. A nice movie.