The Kid with a Bike Reviews

  • Jan 24, 2019

    Just recently I've discovered Jean-Pierre Dardenne and Luc Dardenne, watching the beautiful moral drama "Two days, one night", and I am happy that I did because this second film is very interesting too. This touching true-to-life story is absorbing and frank. It tells us that even if life is not fair most of the times, the ways out are always not far from you.

    Just recently I've discovered Jean-Pierre Dardenne and Luc Dardenne, watching the beautiful moral drama "Two days, one night", and I am happy that I did because this second film is very interesting too. This touching true-to-life story is absorbing and frank. It tells us that even if life is not fair most of the times, the ways out are always not far from you.

  • Jan 05, 2019

    Raw and unflinching, much is made of films with graphic violence or nudity. but "Kid With A Bike"'s graphic portrayal of emotional "acting out" is more searing than a war film. And done by an 11 year old no less.

    Raw and unflinching, much is made of films with graphic violence or nudity. but "Kid With A Bike"'s graphic portrayal of emotional "acting out" is more searing than a war film. And done by an 11 year old no less.

  • Jan 09, 2018

    KANKER FILM JE DETESTE CET

    KANKER FILM JE DETESTE CET

  • Oct 15, 2017

    Kids won't go astray for no reasons, all they need is love, care and guidance.

    Kids won't go astray for no reasons, all they need is love, care and guidance.

  • Oct 10, 2017

    Really good movie that is overrated and underrated at the same time but still a great film.

    Really good movie that is overrated and underrated at the same time but still a great film.

  • Jun 11, 2017

    Pretty half-baked, especially by the standards of the Dardennes. For most of its length it's an exercise in frustration, watching an extremely unpleasant child with no impulse control cause chaos around him and push the limits of how unlikable a protagonist can be (I'm all for unlikable characters but this is the type of child that inspires fantasies of murder in others). And then suddenly everything gets resolved and the movie ends. It's abrupt to the point of feeling unfinished. My favourite part was Renier's character treating his son like a crazy ex-girlfriend.

    Pretty half-baked, especially by the standards of the Dardennes. For most of its length it's an exercise in frustration, watching an extremely unpleasant child with no impulse control cause chaos around him and push the limits of how unlikable a protagonist can be (I'm all for unlikable characters but this is the type of child that inspires fantasies of murder in others). And then suddenly everything gets resolved and the movie ends. It's abrupt to the point of feeling unfinished. My favourite part was Renier's character treating his son like a crazy ex-girlfriend.

  • Jan 24, 2017

    Over the course of this short film, I fell in love with it. A story of rebellion, and heartbreak between one little boy, his father and his bike. It is awesomely filmed. I loved so many little sections of this film, such as the long bike ride in the dark, as well as the final scene which had me glued to the screen in shock. Foreign films don't get better.

    Over the course of this short film, I fell in love with it. A story of rebellion, and heartbreak between one little boy, his father and his bike. It is awesomely filmed. I loved so many little sections of this film, such as the long bike ride in the dark, as well as the final scene which had me glued to the screen in shock. Foreign films don't get better.

  • Apr 20, 2016

    cinegeek.de Der erbitterte Junge ist ständig in Bewegung. Mit dem Ausdruck wilder Entschlossenheit rast er durch die Strassen, hämmert an verschlossene Türen und Fenster, fordert dringend. Er fordert die Liebe seines Vaters und ausserdem sein eigenes Fahrrad. Sein Name ist Cyril und er wird gespielt von Thomas Doret - ein Junge der ganz unbedingt Zuwendung braucht. Wir lernen ihn kennen in einem Waisenhaus, dort wo sein Vater ihn abgab und versprach zurückzukehren - was er nie tat. Wie ein kleiner Detektiv stellt er dem Vater nach, sucht ihn in der Stammbar oder in der alten Wohnung. Der Gewinner der Filmfestspiele in Cannes 2011 ist ein weiterer empathischer Film von Jean-Pierre und Luc Dardenne, den Brüdern aus Belgien, die so bewegende Melodramen mit Kindern oder jungen Leuten machen. Es gibt zwei Punkte in Cyrils Leben, an dem ernsthaft etwas schief gehen könnte. Doch die Dardenne Brüder verweigern derartige dramatische Höhepunkte. Mit ihrer knappen und direkten Art zeigen sie das Leben selbst: Die Angst eines kleinen Jugen davor, einfach weggeworfen zu werden. Cyril denkt immer noch, der Vater hätte ihn bloss vergessen und würde ihn zurückholen, so dass alles wieder gut wird. Er kann es nicht aushalten, wenn man ihm sagt, was zu tun ist oder er sich zurücknehmen soll. Einmal sieht Cyril einen Jungen auf seinem alten Fahrrad und jagt ihn. Er kennt keinerlei Angst. Schliesslich folgt Samantha (Cecile De France), die den örtlichen Schönheitssalon führt, dem Jungen mit Cyrils Rad und kauft es von dessen Vater. Cyril muss einsehen, dass dieser Junge sein Rad gar nicht geklaut hat. Es wurde ihm von Guy, Cyrils Vater, verkauft. Kühn fragt Cyril Samantha, ob er bei ihr wohnen darf. Sie willigt ein, dass er die Wochenenden bei ihr bleibt, doch es läuft nicht gut. Aus Angst vor Zurückweisung hat Cyril die Angewohnheit entwickelt, die Menschen auf ihre Geduld hin zu testen. Weshalb sie ihn aufgenommen hätte, fragt Cyril Samantha. Sie antwortet, sie wüsste es nicht. Schliesslich gerät der Junge in die Fänge von Wes, einem Kleingangster mit zurück gegelten Haaren, der ein paar Jahre älter ist. Meisterhaft zeigen die Dardennes, wie leicht es für Wes ist, Cyril zu manipulieren. Le gamin au velo ist kaum 90 Minuten lang, ungeheuer intensiv und sehr effektiv. Genau wie Cyril ist dieser Film fast rastlos, strebt nach vorn und immer nur nach vorn. Immer wieder haben die Dardennes Filme über Kinder und Eltern inszeniert. In diesem Werk ist der mysteriöseste Charakter aber nicht das Kind, sondern Samantha mit ihren traurigen Augen. Das ganze Gewicht des Lebens, wir sehen es in Cecile de France' Blick. Warum sie ihn aufgenommen hat? Wenn Samantha antwortet, sie wüsste es nicht, bin ich davon überzeugt: Sie ist sich dessen ganz genau bewusst.

    cinegeek.de Der erbitterte Junge ist ständig in Bewegung. Mit dem Ausdruck wilder Entschlossenheit rast er durch die Strassen, hämmert an verschlossene Türen und Fenster, fordert dringend. Er fordert die Liebe seines Vaters und ausserdem sein eigenes Fahrrad. Sein Name ist Cyril und er wird gespielt von Thomas Doret - ein Junge der ganz unbedingt Zuwendung braucht. Wir lernen ihn kennen in einem Waisenhaus, dort wo sein Vater ihn abgab und versprach zurückzukehren - was er nie tat. Wie ein kleiner Detektiv stellt er dem Vater nach, sucht ihn in der Stammbar oder in der alten Wohnung. Der Gewinner der Filmfestspiele in Cannes 2011 ist ein weiterer empathischer Film von Jean-Pierre und Luc Dardenne, den Brüdern aus Belgien, die so bewegende Melodramen mit Kindern oder jungen Leuten machen. Es gibt zwei Punkte in Cyrils Leben, an dem ernsthaft etwas schief gehen könnte. Doch die Dardenne Brüder verweigern derartige dramatische Höhepunkte. Mit ihrer knappen und direkten Art zeigen sie das Leben selbst: Die Angst eines kleinen Jugen davor, einfach weggeworfen zu werden. Cyril denkt immer noch, der Vater hätte ihn bloss vergessen und würde ihn zurückholen, so dass alles wieder gut wird. Er kann es nicht aushalten, wenn man ihm sagt, was zu tun ist oder er sich zurücknehmen soll. Einmal sieht Cyril einen Jungen auf seinem alten Fahrrad und jagt ihn. Er kennt keinerlei Angst. Schliesslich folgt Samantha (Cecile De France), die den örtlichen Schönheitssalon führt, dem Jungen mit Cyrils Rad und kauft es von dessen Vater. Cyril muss einsehen, dass dieser Junge sein Rad gar nicht geklaut hat. Es wurde ihm von Guy, Cyrils Vater, verkauft. Kühn fragt Cyril Samantha, ob er bei ihr wohnen darf. Sie willigt ein, dass er die Wochenenden bei ihr bleibt, doch es läuft nicht gut. Aus Angst vor Zurückweisung hat Cyril die Angewohnheit entwickelt, die Menschen auf ihre Geduld hin zu testen. Weshalb sie ihn aufgenommen hätte, fragt Cyril Samantha. Sie antwortet, sie wüsste es nicht. Schliesslich gerät der Junge in die Fänge von Wes, einem Kleingangster mit zurück gegelten Haaren, der ein paar Jahre älter ist. Meisterhaft zeigen die Dardennes, wie leicht es für Wes ist, Cyril zu manipulieren. Le gamin au velo ist kaum 90 Minuten lang, ungeheuer intensiv und sehr effektiv. Genau wie Cyril ist dieser Film fast rastlos, strebt nach vorn und immer nur nach vorn. Immer wieder haben die Dardennes Filme über Kinder und Eltern inszeniert. In diesem Werk ist der mysteriöseste Charakter aber nicht das Kind, sondern Samantha mit ihren traurigen Augen. Das ganze Gewicht des Lebens, wir sehen es in Cecile de France' Blick. Warum sie ihn aufgenommen hat? Wenn Samantha antwortet, sie wüsste es nicht, bin ich davon überzeugt: Sie ist sich dessen ganz genau bewusst.

  • Mar 06, 2016

    I had never seen a film by the Dardenne brothers, and now I really want to see a lot more of their films. A kid who's been abandoned by his father and lives in a state home is fostered on weekends by a hairdresser. His desperate need for affection from a father figure leads to dramatic and violent acting out, and she tries to cope. There's not a lot more to this film, but there's a kind of poetic realism at play in it that drives out a lot from a very small amount of plot. The performance they get from Thomas Doret as the boy is fairly incredible ... he really dominates the film.

    I had never seen a film by the Dardenne brothers, and now I really want to see a lot more of their films. A kid who's been abandoned by his father and lives in a state home is fostered on weekends by a hairdresser. His desperate need for affection from a father figure leads to dramatic and violent acting out, and she tries to cope. There's not a lot more to this film, but there's a kind of poetic realism at play in it that drives out a lot from a very small amount of plot. The performance they get from Thomas Doret as the boy is fairly incredible ... he really dominates the film.

  • Mar 04, 2016

    Those familiar with the films of the Dardenne brothers, Jean-Pierre and Luc, shouldn't be surprised by what The Kid with a Bike has to offer. As a former Dardenne virgin who popped his cherry here, I found myself surprisingly moved. The story is pretty bare-bones, but it's an easy one to get swept up in. I thought the film's second half was much weaker than the first-it meanders and relies on multiple coincidences to reach its conclusion. However, the intense but beautiful simplicity of the film's first fifty minutes is more than enough to give it a solid recommendation. Cyril Catoul (newcomer Thomas Doret) is a troubled young boy who was abandoned by his irresponsible father at an orphanage. He's being taken care of well enough, but Cyril just wants to get out, be with his father, and ride his treasured bicycle. He actually does escape once, to his old apartment, where he gets a double dose of bad news: His father has left without a trace, and his bike has been sold. During this escape attempt, he encounters Samantha (Cecile de France), a hairdresser who pities Cyril and is kind enough to purchase back his bike and bring it to him at the orphanage. Cyril asks her if he can visit her on the weekends, and she obliges. It's clear, though, that this boy needs more than just a temporary parent, so she tries to track down his father. What happens after that is far more than she bargained for, but necessary if this boy is to have any hope of overcoming his demons. Is The Kid with a Bike a thoughtful character study that touches on issues like abandonment and destructive parenting? That's an easy assumption to make for the film's first half, and I found myself really responding to it. I've encountered troubled children like Cyril, so the film really rang true for me. Unfortunately, what happens as it approaches its conclusion makes you question what the film was even about. It goes off about gangs and the influence they can have over boys like Cyril. Not to say that isn't true, but it's a distraction. The film's conclusion is fairly predictable, but the roundabout way it gets there detracts from the tight and very authentic start to the film. Thomas Doret shines as Cyril. He's not an easy character to sympathize with (just wait until you see some of the terror he unleashes), but one look at him will show you the kind of pain he's internalizing. Your heart will break as you see his father reject him time after time while he continues to make excuses up for his inexcusable behavior. "Your father sold your bike," Samantha tells Cyril. "No, someone stole it from him. He'd never do that," the boy responds with such certainty. It's actually quite difficult to watch him suffer in the dark like that, and it certainly doesn't get any easier when he learns the sad truth. Many of you will probably recognize Cecile de France from Clint Eastwood's Hereafter. Well, she survived that pile of garbage to give a great performance. It's not clear why Samantha agrees to house Cyril in the first place (one of the film's chief faults), but once she gets involved, she has no choice but to stick with him. There are a few occasions, however, when she genuinely feels torn, and de France sells those moments brilliantly. The Kid with a Bike should find a small audience. It's certainly deserving of it, despite it's flaws. Finding the film might be difficult, but if you're able to check it out, do so. Doret pulls of something truly difficult, and you'll definitely find yourself quite moved on more than one occasion. http://www.johnlikesmovies.com/kid-with-a-bike-review/

    Those familiar with the films of the Dardenne brothers, Jean-Pierre and Luc, shouldn't be surprised by what The Kid with a Bike has to offer. As a former Dardenne virgin who popped his cherry here, I found myself surprisingly moved. The story is pretty bare-bones, but it's an easy one to get swept up in. I thought the film's second half was much weaker than the first-it meanders and relies on multiple coincidences to reach its conclusion. However, the intense but beautiful simplicity of the film's first fifty minutes is more than enough to give it a solid recommendation. Cyril Catoul (newcomer Thomas Doret) is a troubled young boy who was abandoned by his irresponsible father at an orphanage. He's being taken care of well enough, but Cyril just wants to get out, be with his father, and ride his treasured bicycle. He actually does escape once, to his old apartment, where he gets a double dose of bad news: His father has left without a trace, and his bike has been sold. During this escape attempt, he encounters Samantha (Cecile de France), a hairdresser who pities Cyril and is kind enough to purchase back his bike and bring it to him at the orphanage. Cyril asks her if he can visit her on the weekends, and she obliges. It's clear, though, that this boy needs more than just a temporary parent, so she tries to track down his father. What happens after that is far more than she bargained for, but necessary if this boy is to have any hope of overcoming his demons. Is The Kid with a Bike a thoughtful character study that touches on issues like abandonment and destructive parenting? That's an easy assumption to make for the film's first half, and I found myself really responding to it. I've encountered troubled children like Cyril, so the film really rang true for me. Unfortunately, what happens as it approaches its conclusion makes you question what the film was even about. It goes off about gangs and the influence they can have over boys like Cyril. Not to say that isn't true, but it's a distraction. The film's conclusion is fairly predictable, but the roundabout way it gets there detracts from the tight and very authentic start to the film. Thomas Doret shines as Cyril. He's not an easy character to sympathize with (just wait until you see some of the terror he unleashes), but one look at him will show you the kind of pain he's internalizing. Your heart will break as you see his father reject him time after time while he continues to make excuses up for his inexcusable behavior. "Your father sold your bike," Samantha tells Cyril. "No, someone stole it from him. He'd never do that," the boy responds with such certainty. It's actually quite difficult to watch him suffer in the dark like that, and it certainly doesn't get any easier when he learns the sad truth. Many of you will probably recognize Cecile de France from Clint Eastwood's Hereafter. Well, she survived that pile of garbage to give a great performance. It's not clear why Samantha agrees to house Cyril in the first place (one of the film's chief faults), but once she gets involved, she has no choice but to stick with him. There are a few occasions, however, when she genuinely feels torn, and de France sells those moments brilliantly. The Kid with a Bike should find a small audience. It's certainly deserving of it, despite it's flaws. Finding the film might be difficult, but if you're able to check it out, do so. Doret pulls of something truly difficult, and you'll definitely find yourself quite moved on more than one occasion. http://www.johnlikesmovies.com/kid-with-a-bike-review/