All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Kid with a Bike
Abandoned by his father, a young boy is left in the hands of an unqualified childcare provider.
The kid falls.
The man rises.
The soul endures.
The Kid with a Bike follows a particularly emotional and difficult period of childhood for eleven year-old Cyril (Thomas Doret). Following his father's abandonment, Cyril compulsively searches for the symbol that represents their relationship -- his bicycle. At the hands of fate he becomes the custodial responsibility of Samantha (Cécile De France) who is determined to tame his unpredictable and seemingly dangerous behaviour.
Cyril's absolutely catastrophic attempt at seeking a father figure makes The Kid with a Bike a rather difficult film to watch. The emotional power surging through the film comes courtesy of Thomas Doret whose action is unstoppable. Everything the young actor does on screen is exacting and performed with such intent. Even an action as simple as…
Was "The Insufferable Twat With A Bike" taken? I spent 90% of this movie hoping this little fucker would get hit by a car.
It is extremely hot in the Netherlands right now, so I was relieved to find out that the Belgian channel showed this, so that I could watch something in my much cooler basement, instead of behind my PC in this boiling living room. ‘The Kid with the Bike’ is perhaps the most accessible film of the influential brothers Dardenne of whom I have as of yet never seen a picture, but I still had some trouble to get into it. Notwithstanding the fact that the young Thomas Doret convinced me of his skill soon enough, his performance appeared unnatural to me during the movie’s first shots. As soon as it began to live up to its IMDb-description, however, not only…
This review reportedly contains spoilers. I can handle the truth.
France, Sweden, Ireland, the UK and sometimes Italy have been notorious countries that apply an absorbing, minimalistic style to the events depicted to make them more serious in tone and more invasive psychologically. The Dardenne brothers put that trend to good use in what may be their most simplistic film, but like it has been said before: "In simplicity lies complexity".
Some parallels may be drawn between Truffaut's Les Quatre Cents Coups (1959), as we witness a boy with a strong lack of parental figures and in a world of adulthood irresponsibility wandering aimlessly through the streets, he seems to follow the same steps that any Antoine Doinel would make: feeling misunderstood and alone, escaping his home, engaging in thievery,…
Top tier Dardenne.
A film about what it's like to be lost and filled with anger at a young age (and it's got top notch child acting).
It seemed that almost everything in this movie was setup for the final scene, which ultimately wasn't even a great payoff. The first third of the movie was setting up this annoying kid character, and the last two thirds were all the setup for how the main character got into his situation in the end. Ultimately, although this movie wasn't particularly long, it felt as such because we just didn't know where the story was headed until the very end. It was possible, I think, that the ending could have been legitimate. However, it was basically one thing that happened, and the movie then ended extremely abruptly. This movie felt like the writers just decided to give up part way…
Cyril, the kid with the bike, is already full of rage when the film opens. It is a close up of his face. He's on the phone trying to reach his dad. We, as adults who know how unfair the world can be, can already tell that this father doesn't want Cyril to find him. He doesn't know this. Even after seeing his father's empty apartment and an advertisement listing his bike for sale (he was under the impression his dad wouldn't leave without giving him his bike), he still wants to find him.
He meets a woman while being chased by his counselors. She wants to help this kid, though we never really find out why. Has she tried…
I didn't understand how Cecile De France's character could be so relentlessly compassionate to the orphan boy.....I was waiting for some kind of reveal or explanation that never came. Other than that frustration the film was great.
The Dardennes may be known for the simplicity of their style, but I can't think of many other filmmakers of the contemporary era that make such effective, thorough use of wide shots. It's shocking and refreshing to see actors' full bodies such a high percentage of the time.
Os irmãos Dardenne são foda. O cinema deles é simples e ao mesmo tempo poderoso. Passei o filme inteiro querendo bater no menino IN-SU-POR-TÁ-VEL, mas no final fiquei com dó do póbi.
Its greatest strength is character construction and development and a great performance by the kid.
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…