The First Grader

The First Grader

The true story of an 84 year-old Kenyan villager and ex Mau Mau freedom fighter who fights for his right to go to school for the first time to get the education he could never afford.

  • Rating:
    4.00 out of 5
  • Length:103 minutes
  • Release:2010
  • Language:English
  • Reference:Imdb
  • Keywords:dancer,   murder,   student,  

The story of an 84 year-old Kenyan villager and ex Mau Mau terrorist who fights for his right to go to school for the first time to get the education he could never afford. . You can read more in Google, Youtube, Wiki


The First Grader torrent reviews

Valerie K (au) wrote: mostly just watching her texting

victor l (au) wrote: And when did you last see your father? is a humanistic film that touched my feelings deeply and made me feel identified with the father & son relationship. The film's structure is weird and sometimes it feels it isn't a real movie, but it's recommendable overall.

Ash C (ru) wrote: Pretty Good but not funny in any means. Just mediocre at best. But I gotta love this movie's attempt at its Anthropomorphic animals trying to survive in their adventure/s a great part of the movie.

Roman P (ru) wrote: Birds are happy twice - first, they are free like nobody else, and second, nobody imagine that they are interesting in those depth wise French-style narrations.

Austin G (br) wrote: While certainly not a great film, it is entertaining enough to keep you watching.

Kyle B (ru) wrote: This movie is very underrated. I LOVE Melissa Joan Hart. She was the reason I sat down to watch this movie but there's more to it then her. I'm glad I saw it. The humor was kind of predictable but I still enjoyed it

Blake P (br) wrote: The glam rock era of the 1970s was a time of sexual experimentation, gaudy fashion, and surprisingly ballsy music. Coming at the tail end of the free love hippie movement of the 1960s, it was a period that was characterized as being seemingly fearless and disapproving of societal normalities, curious about gender fluidity and about as obsessed with exterior glamour as the '20s were at their most roaring. It's among the most instantaneously recognizable movements in music history - good thing much of the work remains to be timeless. Then all the free-wheeling would be for nothing. 1998's "Velvet Goldmine," a bouncy pleasuring of bonkers visual patina, is arresting in the way it captures the glam era's flamboyancy. Though inevitably capturing the darkness of certain aspects of the time, it retains the romanticism we place upon it, from its incessant self-indulgence to the pulsating confidence of its defining figures. It's a biopic of sorts, revolving around a central figure that is suspiciously quite a lot like David Bowie. Bowie is, of course, smarter, less periodically legendary, and more calculated in his theatrical showing-offs. But I think "Velvet Goldmine" isn't so much intent on telling the story of a fake pop idol as it is intent on paying homage to glam rock's insanity, using the characters as placeholders to make it all seem like more than just inspired, kinetic style. It is set in 1984, where the days of Ziggy Stardust and KISS are long gone and where cynical grit has replaced the exciting (and perhaps cinematically bloated) liberties of the 1970s. Such a year does not mean much to most people unless we're talking about George Orwell's literary masterpiece, but to Arthur Stuart (Christian Bale), a tabloid journalist, it means a great deal. It marks for the tenth anniversary of the disappearance of Brian Slade (Jonathan Rhys Meyers), a bodacious, bisexual rock icon who staged his own assassination (later proven to be a hoax). Arthur, gay and introverted, looked to Slade during his youth as though he were a sort of god. Growing up in a conservative household, the musician's music and image were the closest thing he ever felt to social acceptance. And so Slade, whose false murder he witnessed, is perhaps even more important to him than his own father, being a symbol of the boundless self-expression he's never been able to emulate. Since that traumatic event in 1974, it's assumed that Arthur has had a hard time recovering. So lucky for him that his boss assigns him to investigate the hoax further, to discover why Slade did what he did and maybe even find out where the rocker currently plays house. He gets leads from several of Slade's closest confidants, most notably his ex-socialite ex-wife Mandy (Toni Collette), and is given information that any fanatic would kill to discover. Most compelling is his relationship with Curt Wild (Ewan McGregor), a comparatively batshit idol with whom he had a brief but influential professional and personal affiliation. Finding Slade, though, is a challenge, possibly even an impossibility. It's as if he were banished from a land where the citizens actually wanted him, as if the progression from superstardom to reclusiveness were more natural than simply announcing a hiatus or a permanent retirement. In essence, I've just relayed the general gist of "Velvet Goldmine." Like director Todd Haynes's similarly challenging "I'm Not There" (2007), a Bob Dylan biopic that employed six actors to play the man, it doesn't much have a necessarily streamlined plot. Slade is only seen through flashback. Every time Arthur interviews someone, their memories are fashioned into the form of a memory, giving us diverse tellings of Slade that are more investing because of their musical sequences and their orgies of visual opulence, not because the elusive character is so multifaceted and interesting himself. Admittedly, "Velvet Goldmine's" breakneck speed and habit of getting too lost in its mystique makes it seem ethereal instead of grounded. It feels more like an exercise in style than a meaningful work, which is disappointing considering the dramatic possibility that could grow from material of its caliber. But it's so lusciously rendered and so fetchingly tuneful that resisting its superfluities is a losing fight. Haynes has all the right moves, and Meyers and McGregor are astonishingly good as would-be glam rockers; Meyers easily could have fit into the era had he been born earlier and had he tried. "Velvet Goldmine" gets a little carried away; but there's nothing wrong with an explosion of color when the occasion arises.

Brett B (de) wrote: Anthony Perkins is quite good in this "Jekyll and Hyde/Jack the Ripper" yarn, but he's the only good thing about it. It's a lurid, nasty, grim film, full of some pretty uncomfortable moments of bizarro sexual content and a warped cast of unlikable characters. If this had been just a pure rendition of Stevenson's original tale, we'd all have been much better off, because Perkins would have knocked that out of the park.

cskocypec (ca) wrote: Really bad (and just plain weird) acting. Complete waste of time even for James Woods and Brian Dennehy fans.

Anne S (au) wrote: Very silly and sill is great

Garrett C (au) wrote: A much finer film than Rosemary's Baby in my opinion. Gil Taylor's cinematography is exquisite, the music is sharp and jarring like Hermann's Psycho score, the acting is impressive, and the imagery is iconic. A near-perfect psychological horror film if not for its difficult pacing.

Lawrence B (au) wrote: John Boorman's great outdoor thriller with Jon Voight, Burt Reynolds, Ned Beatty and Ronny Cox's canoe holiday turning into a nightmare, thanks to the foul play of some unfriendly locals. Fast-paced, no-nonsense and expertly staged by Boorman.

Cynthia N (es) wrote: Of course, loved the musical performance from David Garrett, as Niccolo Paganini. But that was about it.