"City of Men" might be considered a kinder, gentler companion to Fernando Meirelles' riveting 2002 film, "City of God." But given the violent, steamy backdrop of Rio de Janeiro's dense "favelas," those are relative terms indeed.

A continuation of the Brazilian television series that was inspired by the success of the earlier film, "City of Men" takes a more melodramatic and less frenetic approach to the stories of the young people living and dying in the hillside slums.

"City of God," which nabbed four Oscar nominations including director and adapted screenplay, was a firestorm journey through unfamiliar territory for many viewers, mixing crisp visual style and documentarylike realism. "City of Men" has a warmer feel and bleached tones that make it more accessible but less fresh.

The drug dealing and gunplay that fuel the chaotic pace of everyday survival takes a back seat to themes of fathers and sons and the lost generations that battle for control of the various hills in the city. There is plenty of violence and death, but the pace is slowed down considerably to explore the human connections and relationships that are also at stake.

Writer Elena Soarez and director Paolo Morelli focus on the friendship of two young men as they turn 18 — a real milestone in a locale where life can easily become cheap.

Acerola (Douglas Silva) and Laranjinha (Darlan Cunha) are closer than brothers and generally do their best to stay out of harm's way until fate reaches out and pulls them into the inexorably fierce center of their world.

Baby-faced Ace, married and the somewhat reluctant father of a toddler, works as a security guard and is visibly uneasy when a gun is put in his hand. Laranjinha is a romantic searching for the father he has never known. His cousin Madrugadao (Jonathan Haagensen) is the cocky chieftain of Dead-End Hill and for whom even a trip to the beach for a swim takes on the logistics of a military mission.

The two friends move cautiously along the margins of their dangerous environs, eyeing vague futures that don't include wielding a machine gun or being felled by a bullet. Cunha and Silva are naturally charismatic actors — both appeared in smaller roles in "City of God" — and give the film a heart and soul, even when the story meanders a bit and tilts toward the sentimental.

Morelli uses plentiful flashbacks drawn from the earlier movie and television series that are at times intrusive to the narrative, but eventually serve to deepen the relationship of Ace and Laranjinha as we see Silva and Cunha grow up on screen.

Our investment in their plight is ultimately enough to withstand the contrivance of the plot thread that tightens and tests the young men's relationship.