Story about gymnast Nadia Comaneci from her childhood beginning as a gymnast and how she was discovered by Belya Karolyi. Nadia received 7 perfect 10's in the Montreal Olympics. . You can read more in Google, Youtube, Wiki
Story about gymnast Nadia Comaneci from her childhood beginning as a gymnast and how she was discovered by Belya Karolyi. Nadia received 7 perfect 10's in the Montreal Olympics.
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Cameron J (jp) wrote: Don't worry, little Christopher Lee, because when you grow up, you can get rid of that crummy old bike, and get yourself a golden gun. Well, the title makes me think of that, for some reason, as well as a generic BMX chase movie from the '80s, except instead of the titular kid with a bike being chased by the grown-up, the kid is trying to chase down his father. The Dardenne brothers really know how to showcase the struggles of children caught up in some misfortune... and then figure out how to bore you with it. At the very least, you'll end up with some disdain towards the kid that probably shouldn't be there, because the last time we saw Jrmie Renier, he was the lead in "The Child", and now that child is grown up and being rejected by that poor sucker who keeps hoping that people will mistake him for Jeremy Renner, thus making him sort of relevant. Shoot, before that, we had "The Son", so maybe the Dardennes have some daddy issues or something, although you couldn't entirely tell from watching this film, for this is much more upbeat than the Dardennes previous films. ...I mean upbeat in subject matter, not upbeat in tone, because that insinuates that this film is about as lively as its story suggests. No, this film is a fairly engaging coming-of-age drama, at least more so than "Rosetta" (Maybe I would care more about the kid's problems if I actually cared about the kid), though not exactly more so than it can be. As reflected in, say, a runtime which more-or-less pathetically falls short of 90 minutes, this story, despite being a showcase for worthy subject matter, is not especially special, following a straightforward narrative whose simplicity is bland enough, without the familiarity. Films like these are to be characterized by their being distinct, but something that the Dardenne brothers have always been good at is doing nothing new with storytelling of this style, and sure enough, this film is not simply formulaic, but entirely derivative, and not even of a strong structure to begin with. This film isn't quite as cold as, say, "Rosetta", but it still thrives on aimless meditations upon a whole lot of nothing, for the sake of naturalism that would be immersive if it wasn't for the fact that real life is typically more lively than this. The Dardenne's directorial thoughtfulness works better than I feared, but it still falls over do-nothing material, thus, when things dry up, the drama dull down, generally to a bland degree, and often to a dull degree which distances about as much as the aspects of storytelling which are anything but draggy. Intentionally meandering along, with no real dramatic romanticism, this film seems to hold onto the hope that you'll just happen to stumble upon exposition, as it doesn't really provide any background information, and its gradual characterization is so superficial, not in layers, but in overall exploration. It's a little difficult to get ahold on what's so worthy about the titular lead and his peers, because the film wants you to simply get used to it, yet it still challenges your patience and investment with familiarity, meandering and dullness, and its story isn't even all that juicy to begin with. This film was never to be much, but it also could have fallen so much flatter than it ultimately does, with even the Dardenne's direction having its endearing aspects. I still can't figure out how it's taking two people to do essentially nothing, because, again, Jean-Pierre and Luc Dardenne rely on an empty directorial style that relies on naturalism and, especially nowadays, boasts very, very little actual style, and yet, one has to appreciate the audacity and the charming ambition in the minimalist, naturalist storytelling sensibilities applied here. Your appreciation will surely be augmented once the Dardennes' overt meditativeness proves effective, with an immersively delicate tastefulness that resonates upon finding material to draw upon which, with a lesser story, would be borderline nonexistent. This story is nothing new, and not much more than nothing at all, and it's easy to expect this film to go the way of certain other Dardenne dramas of this type and fall flat, but through all of the questionable narrative structuring is genuinely worthy subject matter regarding a troubled boy trying to connect with his family and changes in life. There is potential to salvage here, and the Dardenne's don't even do much with it through their script, which is minimalist, but not as do-nothing as I feared, offering plenty of dialogue to help enrich what expository depth there is, and to always provide the meditativeness with something to work with to keep you from getting too bored between the dramatic heights. Honestly, there isn't much to compliment in this lightly drawn affair, but where this film could have gotten completely carried away with its minimalism and fallen as yet another mediocre misfire for the Dardennes, it carries the charm to endear, just as it carries the performances to humanize. This film relies on mere meditations to its dramatics, and that can either distance you a great deal, or allow you to soak in the subtle nuances to, say, the performances, and sure enough, although the performers have little to work with, they do what they can to the best of their abilities, or at least that's the case with Ccile de France, and with young lead Thomas Doret, who is near-remarkably realized in his projection of a flawed and concerned lad's angst and depth. The Cyril Catoul character, with his limited development and great deal of questionable aspects which only grow more and more problematic before finally being dismissed through a desperate attempt at redemption, could have turned out like the lead in the Dardenne's "Rosetta", a kid too flawed to be engaging, even with an inspired portrayal, but Doret, the central focus of this drama, ultimately soaks up enough heart to keep the final product pumping as a charming and often effective, if challenging drama. Its story thin to begin with, a wholly derivative and questionably draggy and cold, when not developmentally vacant storytelling style threaten the final product's decency, ultimately secured by the worthy subject matter, thoughtful directorial highlights, adequately busy script and nuanced performances by Ccile de France and Thomas Doret which make the Dardenne brothers' "The Kid with a Bike" a serviceably engaging and sometimes effective drama, despite the problematic storytelling aspects which could have made it so much worse. 2.5/5 - Fair
Brandon D (fr) wrote: Though it is an indie movie, it looks intriguing. It has the potential to be quite the beautiful love story.
Rick R (ca) wrote: Very touching coming of age story. I thought the cast and script worked well together.
Geoff J (au) wrote: Striking visuals aside, there's little here to invest in, save the Clive Barker homages. Meh
James S (es) wrote: It's been a while since DreamWorks had an unqualified hit on their hands. The Shrek franchise is dying, and there will always be new kids who want a series all their own. I do not know whether this was planned as a potential new franchise, or if DreamWorks stumbled backward into it, but either way, this movie is great.It begins as a typical fish out of water tale; scrawny Viking can't live up to his father's expectations, needs to become a man, yadda yadda. Once we get going, we see the true depth of character present in everyone, including (and this is key) the ability to change heart. Every major character in this movie has a great arc, and it work so well with the rest of the story.The voice cast is solid, with Baruchel, Butler, Ferguson, and Ferrera all delivering. Some of the accents seem contrived, but I can't be too hard on an animated film.The world is very richly detailed, with lots of lore and backstory. It really drives home the motivations of the characters, and just feels fun. This is very enjoyable for children and adults alike.
ray s (us) wrote: cheesy gore like they threw it on the walls and people with buckets but the melting people were kinda cool and the acting was so so and the film making was good so it made up for the cheesy gore is watchable
Carlos I (ru) wrote: Solid sequel, it's mostly a lot more of the same. If you liked the original, you should dig it. Great villain!
Eno l (kr) wrote: Rocky IV was good but some were not. So let's talk about. It's Paul's birthday. They give Paulie a robot. He doesn't like it that much. Then we see Apollo Creed in his pool and on tv they are showing a boxer. In russia they think he is indestructible. Apollo wants to fight him. So when Apollo fights Ivan Drago (Dolph Lundgren) Ivan punches him so hard that he dies. Rocky is mad about what happens and wants to fight him. The Russians don't want to fight in The U.S. they want to fight in Russia. So Rocky goes to Russia. Then there's the training montage which is awesome. There are two of them the best one is the second one with hearts on fire. They fight the beast of the Russian. Ivan Drago pouches Rocky a lot. Rocky starts to fight him and the song is also cool. Finally Rocky knocks him to the ground and wins the fight of his life. This movie has to go with 7/10. Its was a great movie but not to be a 10/10. The movie was good but it was kinda short and you can't fit much in a small time. So that's why I give it a 7/10.
Janetta B (au) wrote: This movie is old, but it's still a great flick...
Steve W (mx) wrote: I honestly didn't know what was happening half the time. One guy is trying to kill two other guys, and then they kill the villain in the end. That's about it.I re-watched this not remembering that I saw it before. The same thing. It was convoluted, and in the end they finally kill Derek Yee's character. That's about it.
Blake P (ru) wrote: This is what I call a hidden gem. Yes, the plot is overused, and yes "Gilda" is better, but you know what? This is a pretty fun movie! This was filmed fresh from Rita Hayworth's divorce from the notorious Prince Aly Kahn and had not made a movie since 1948's romantic drama "The Loves of Carmen". Because this was a big return for Hayworth, fans were eager to see it, making it a box office hit. And since Glenn Ford was involved, they certainly must have known something good was about to take place. Though this isn't a classic by any means or excellent by any standards, it certainly is an enjoyable little flick. This takes place in the mysterious orient and is a great murder mystery that falls under the genre of film noir. Though this is probably the least steamy of all of the Hayworth/Ford films, it certainly brings out the best acting in Ford-- Rita of course belongs to "Gilda". Though it looks as if Hayworth was tired making this, she sure made the most of it, and did so doing that sexy calypso dance at the beginning of the movie. "Affair in Trinidad" certainly isn't that great, but once you see "Gilda", you'll want to see more of the twosome.
Matthew L (de) wrote: 12 is not nearly as fresh or original as 11, but it still has a lot of fun and wit to entertain you till the end.
Robert G (es) wrote: Now I admit that the only version of The Gold Rush movie I have seen is the 1942 version which is Charlie Chaplin re-edited and did a voice over narration. Even Chaplain considered the 1942 version as superior to the original. But eventually I will watch the original version, just not right now.