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AJ Manglehorn is an aging, ordinary guy in a small town. He nurses his sick cat, squeezes out a conversation with the local bank teller every Friday, and eats at the same place every day. But there is more to Manglehorn than meets the eye: he’s an ex-con who, 40 years ago, gave up the woman of his dreams for a big ‘job’. He now obsesses daily over the choices he made. After a dramatic effort to start over, Manglehorn faces a terrifying moment and is unmasked as a guy with a very, very dark past.

Actors: Al Pacino , Chris Messina , Holly Hunter , Harmony Korine , Natalie Wilemon , Skylar Gasper , Louis Moncivias , June Griffin Garcia , Arthur Bryan , Rebecca Franchione
Directors: David Gordon Green
Country: USA
Release: 2015-06-03
More Info:
  • Alonso Duralde

    Green operates in a smarter mode of storytelling, giving the audience the benefit of the doubt that they'll notice the details, and he's clearly whispered Pacino into giving a nuanced and human-sized turn.

    TheWrap Full Review
  • Catherine Bray

    Manglehorn is a lush, hazy drama that requires a certain open-mindedness, but there's no doubting the craft of its director, who continues to prove himself one of the less predictable and most skilled craftsmen around.

    Hitfix Full Review
  • Jessica Kiang

    For filmmaker and actor, even on those occasions when Manglehorn’s risks do not pay off, we have to credit the courage and confidence it took to attempt them; but more often than not they pay dividends and the result gently dazzles.

    The Playlist Full Review
  • Xan Brooks

    Pacino's Manglehorn is a subtle master class in neutral shading, with none of the garish flashes that sometimes bedevil his work.

    The Guardian Full Review
  • Chuck Bowen

    David Gordon Green stages even fleeting tonal palate cleansers with a self-consciousness that parallels Al Pacino's acting.

    Slant Magazine Full Review
  • Nicolas Rapold

    In truth, it’s less Manglehorn than Mr. Pacino that you warm up to in this film, as so many times before.

    The New York Times Full Review
  • Michael Rechtshaffen

    Though occasionally distracting, the quirky visual poetry eventually proceeds to work its magic.

    Los Angeles Times Full Review
  • Bill Goodykoontz

    [Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.

    Arizona Republic Full Review
  • Bilge Ebiri

    There’s a powerful austerity to Manglehorn the man’s tale that Manglehorn the film itself — well acted and touching though it often is — doesn’t quite match.

    New York Magazine (Vulture) Full Review
  • John Bleasdale

    The style, one senses, is overcompensating for a narrative slackness that has nowhere particular to go other than anti-climax. That's not to say that Manglehorn isn't a good film - it is. It's just that Pacino's seasoned performance deserved a great film.

    CineVue Full Review
  • Peter Debruge

    Something about working with Pacino forces what could have been a breaks-the-mold character portrait into factory-made territory.

    Variety Full Review
  • Mike D'Angelo

    Pacino has finally started acting again, which is cause for celebration. It’ll be real cause for celebration if/when he also starts picking projects worthier than The Humbling, Danny Collins, and now Manglehorn, all of which see him struggling to find moments of truth within a contrived, borderline ludicrous scenario.

    The A.V. Club Full Review
  • Sara Stewart

    The tone and focus of David Gordon Green’s Manglehorn careens around so much it’s hard not to end up as irritable as its title character.

    New York Post Full Review
  • Rex Reed

    A dull, pretentious trifle from director David Gordon Green with Al Pacino in another of his late-career mishaps that does nothing to elevate his fading film status. How I wish he would stick to the stage.

    New York Observer Full Review
  • Sherilyn Connelly

    As is to be expected from Green in his pensive mode, there are lovely images in Manglehorn... But Manglehorn is also the latest entry into the tiresome Sad Man Learning to Love Again genre.

    Village Voice Full Review
  • Keith Phipps

    Pacino never goes too big, as he’s had the tendency to do for a while, but he also never goes deep. Manglehorn wanders and rambles, and the movie follows along dutifully, even though there isn’t much to see along the way.

    The Dissolve Full Review
  • David Rooney

    The mix of limpid naturalism with lyricism that has often distinguished David Gordon Green's indie films slides into sentimentality, or worse yet, whimsy in Manglehorn.

    The Hollywood Reporter Full Review
  • Robbie Collin

    The picture is slight to the point of translucence.

    The Telegraph Full Review
  • Brian Tallerico

    The result is a disappointing, shambling piece of melancholy with a few interesting scenes here and there that never cohere in such a way that allows the legendary actor to disappear into the character. Full Review
  • Steve Davis

    While Manglehorn eschews the traditional third-act redemption you’ve seen ad nauseam in films that neatly wrap things up right before the end credits roll, it’s nevertheless refreshingly optimistic about people’s ability to change. For any of us entering life’s third act, hope springs eternal.

    Austin Chronicle Full Review
  • Angie Errigo

    Holly Hunter goes toe-to-toe nicely with the superbly understated Al Pacino loner obsessed with a long-lost love — one of his most rewarding outings in a very long time.

    Empire Full Review
  • Cath Clarke

    Pacino gives his most natural performance in years.

    Time Out London Full Review
  • David Lewis

    At least we get Pacino and Hunter. We may not understand why this story appealed to them, except for the fact that it gave them a chance to work together.

    San Francisco Chronicle Full Review
  • Michael O'Sullivan

    Sure, there’s an undeniable pleasure from watching Pacino and Hunter work the screen, but the syrupy, symbol-heavy script by first-time feature writer Paul Logan is weighed down further by cliches and false notes.

    Washington Post Full Review
  • Steven Rea

    If Manglehorn is to be remembered at all, it shall be for the excruciating first date that its title character goes on with a chirpy bank clerk he has long been chatting up. Her name is Dawn, and she is played by Holly Hunter.

    Philadelphia Inquirer Full Review
  • Mark Feeney

    Hunter has a scene with Pacino in a cafeteria where she expresses a degree of emotional pain, just through how she looks at him and holds her head, that’s at once awful to see and magnificent. It’s hard to figure out what Pacino saw in the script. What Hunter saw was this scene and getting to act with Pacino.

    Boston Globe Full Review
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  • 18. Adagio Assai from Concerto for Piano and Orchestra in G Major Performer: Toots Thielemans Stream Music Online

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