Eric Eason’s directorial debut, Manito, earned him the Best Emerging Director award at the first Tribeca Film Festival. Though the movie failed to make much of a splash beyond lower Manhattan (the IMDb lists a limited release in the summer of 2003), it’s nevertheless understandable that Tribeca organizers would welcome the director back with open arms upon completion of his sophomore effort. The problem is that Eason’s Journey to the End of the Night, which had its world premiere at the Festival this weekend, is the kind of movie that takes itself so seriously, and is so utterly unsuccessful, that audiences actually laugh when it reaches it denouement. Not lacking for Hollywood star power, the movie is a dark, night-bound tale of family, drugs, and murder in Sao Paolo, Brazil, and it’s a disaster. Full of ominous music and over-the-top emotions, it is virtually devoid of likable characters, and gives the audience no reason to care about the events and relationships it details. Instead, we sit and watch a series of increasingly outrageous events, rapidly losing interest and staying, finally, only to see just how silly it is all going to get.