It's tempting to be hard on this movie. It certainly didn't wow me with a gripping plot or a beautiful soundtrack (or much of any soundtrack at all), nor did it have especially notable photography, nor memorable performances. But I enjoyed this movie just the same, and after managing to shake the mental image of Bill Murray kissing the 11-year-old Scarlett, I quickly became very fond of her in this film.

Scarlett plays Amanda (aka Manny), a headstrong, intelligent, and independent young girl who runs away with her older sister, Laurel (aka Lo), from their respective foster homes some months after their mother dies. The girls spend their time travelling to nowhere in particular, syphoning the gas from other cars, stealing food, and sleeping anywhere they can, particularly in unoccupied homes. Manny becomes aware that her sister is pregnant, while we are expected to believe that Lo is in denial to the point that she insists she's only getting fat as a result of an over-indulgence in Twinkies. Soon after, Lo wakes to discover her little sister's ear to her pregnant belly, and with a single profane utterance indicates she's suddenly aware of the reality of her situation.

This is where things get a bit strange. Unwilling to give birth in a hospital and risk getting caught by the police, the girls kidnap Elaine, a middle-aged woman who, while working at a maternity store, unknowingly convinces Lo that she's an authority on childbirth and all things babies. Gagged and shackled, the girls bring Elaine to a seemingly unoccupied cottage. Predictably, Stockholm Syndrome ensues, and eventually Elaine becomes genuinely interested in helping Lo deliver her baby. Some days later, the owner of the cottage unexpectedly shows up, and a new, peculiar situation occurs when kidnappee becomes kidnapper.

Manny is stubborn and somewhat tomboyish, with an appealing raspy voice that reminded me more than once of Eliza Dushku. Manny exhibits a number of eccentricities, like a compulsion to rearrange the milk cartons at the store so the Missing Children photos are facing out, spraying her mother's deodorant on whatever bed she sleeps, and a fixation on timing and calculations. I admit, I found it cute. After all, timing how long she can hold her breath is just the thing a little girl would do. It helped to make Manny a believable character in the midst of a somewhat dubious plot.

Manny also shows a sensitive and compassionate side. She thoughtfully outfits the room where Elaine is being held with a radio for her to listen to when she's "bored, or just feeling down." Or, in an effort to cheer Elaine up, Manny stands outside in the dark waving flashlights around and dances adorably about, making silly sounds and shouting, "I'm an alien! Oh come on Elaine, laugh!"

Despite her occasional stubbornness and childish excitement, Manny's usual demeanor is a soft, mature calmness. She regularly shows an endearing vulnerability, such as in the scene where she sits on the steps, wet, shivering, and wrapped in a towel. And, in contrast, she often reveals a strength and maturity, like when she strokes Lo's hair and comforts her, and soon after demonstrates that she has a better handle on their situation than Lo ever had.

Manny & Lo isn't a bad movie, and it's not a great one. Although Dale wasn't quite as fond of Scarlett as I was, we both agree that her performance easily makes Manny & Lo worth seeing.