Icelandic writer-director Ragnar Bragason's dark, brooding ensemble drama Börn (AKA Children) follows the entangled lives of a group of lower-rung citizens of Reykjavik as they struggle to just barely keep their heads above water, but all too often succeed in spiritually drowning, through a constant stream of poor decisions.

  • Rating:
    4.00 out of 5
  • Length:93 minutes
  • Release:2006
  • Language:Icelandic
  • Reference:Imdb
  • Keywords:criminal,   duology,   iceland,  

Karitas is a single mother of four who desperately tries to make ends meet. Fighting a losing battle with her ex-husband for custody over her three daughters, she's oblivious to what's ... . You can read more in Google, Youtube, Wiki


Children torrent reviews

Jesse O (us) wrote: This is a typical South Korean rom-com. It plays into every damn stereotype you have ever seen with one of these movies. I'm not saying that there isn't some creativity in this country as it relates to this genre, but it's considerably less than in other parts of the world. I don't say that to be a dick about it, but it's just a matter of fact. I've seen so many of these movies and they all pretty much play out the same way. So what you will about American rom-coms, which I will say are, overall, worse than South Korean rom-coms, but there, from some people at least, an attempt at trying to subvert the conventional genre tropes. As much as I thought the film was heavily flawed, Trainwreck at the very least made an effort to sort of play with the conventions. Or you have a movie like 500 Days of Summer, which is an underrated masterpiece of the rom-com genre. Perhaps what I loved about 500 Days is the fact that the movie looks at it from one point of view and if you were to do a companion film, from the other point of view, it would be a completely different movie. I thought that was cool and that innovation is sorely needed in South Korea. I thought that, perhaps, having sex be a central theme of the film would've given the movie that edge, but it was not to be. I understand that South Korean audience is fairly conservative when it comes to the matter of sex. I've seen South Korean dramas where they blur out some slight showing of cleavage. Characters also rarely share passionate kisses, it's a peck on the lips and nothing more. And that's perfectly fine, but when you have a movie centered around a competition over who can make the best adult comic, I think some of that 'sex' should've transferred over to the actual characters. Not saying that they should've been fucking left and right, but there's a certain blandness to the characters that's undeniable. There's no denying that. The film is structured like usual. The first half is silly and 'funny', which is up for debate, and the second half is serious and dramatic. Not that it's annoyingly melodramatic, but it is somewhat dramatic and it's, honestly, a little tiresome at this point. There's one reason I keep watching these films, and it's not to complain about them, it's the fact that I actually do like the tone. I don't think I've reviewed a good South Korean rom-com in fucking ages, yet I keep watching them and that's because I do like the tone they put forward for the most part. There is, admittedly, something infectious and that's why I keep watching them. Part of me enjoys watching them even when I complain about them in the reviews. I'm not saying this movie is bad, far from it, it's only average at best, I just wish the end product was better. The acting is decent, there are some funny moments, but the film is just too bland and adheres far too much to formula to be what I would call a good movie. So, watch at your own risk.

Brandon W (de) wrote: Even when Quentin Tarantino is an executive producer of Hostel, I still was skeptic on seeing it after watching Cabin Fever, but it's better then I thought was going to be, but it's not a masterpiece or anything. The writing is better, and the acting is a bit better too. The effects look even better than Cabin Fever, since it's by the same people. The characters are nothing special as usual in Eli Roth films, but in this film, they're not as mean spirited as the characters in Cabin Fever. The plot is nonexistence in this, and is more of an excuse to get to the torture porn scenes. It's a little funnier, and it gets more entertaining when it gets to the last 20 minutes of the film. So while Hostel is better than Cabin Fever, it's a very flawed movie that seems like he's just going to make horror films that are only style over substance.

RiP M (au) wrote: Charlize Theron rises above this episodic, uneven, unfocused costume drama that is essentially an expensive two-hour photo shoot for Vogue.

Dean D (au) wrote: Terrible, a complete slap in the face to the original Don Bluth film and to animation in general

Jim D (nl) wrote: AMAZING... Not for everyone... very graphic

Sarah F (gb) wrote: I wonder what this is about, i think ill see it!

Leandro G (ca) wrote: Best movie i've seen so far

Kristen P (ca) wrote: Stellar special effects & an entertaining story.

Vincent P (kr) wrote: A (relatively) painless way to spend an hour and a half... which goes by quickly, if only because you have to be on your toes for the next ineptitude Mega Shark will sling your way.

Diego T (gb) wrote: Let's take a quick break in the awful movies this week to review something that's legitimately good. Sex, Lies, and Videotape, Steven Soderberg's indie debut feature, is a wonderfully assured, well-scripted, and involving drama that represents just how effectively one can make a film on a minimal budget. This movie has gotten widespread critical acclaim for its simplicity and study of human sexuality, and although I'd call it somewhat overrated (its aim far surpasses its grasp in some respects), it's still an entertaining and thought-provoking film that deserves its place at the height of Soderberg's career. Sex, Lies, and Videotape stars Andie MacDowell as Ann, a suburban housewife who "Just really isn't that into sex." God, this movie must have been terrifying for husbands who suddenly realized that all their worst fears about their wives were true. Anyway, her husband (Peter Gallagher) is cheating on her with her sister Cynthia, so everything starts out already wrapped up in a ticking time bomb of love-triangle explosiveness. And not the kind of love triangles in The Hunger Lames or The Host... this one is actually good. The balance has held out for some time, but all that changes when a mysterious stranger named Graham (:D), played by James Spader, shows up in town with a fuckload of videotapes depicting women confessing their sexual secrets. If nothing else, this film delivers on its title, bringing us sex, lies, and plenty of videotape. The characters bounce off each other effortlessly, raising the tension with every line they speak and consistently giving great insight into the topics they discuss, which range from adultery to erectile dysfunction (okay, not a very wide range of topics). It may not shed any new light on the subject covered, but it does shed some light on the subjects covering them (see what I did there?). The characters undergo massive transformations, with Ann becoming more free and open about herself after discovering someone who will actually listen to her, Cynthia understanding that meaningless sex does not drive the world, and the husband figuring out that he is a fucking arrogant fucking asshole fuckface. Spader's character, however, is the most intriguing. He clearly has a tortured past, but the way he moves through the world after his scarring experience is undeniably spellbinding. It's always cool when a character interacts so fluidly and passively with the people around him, and that's part of what makes this character great. But past all the character development, Sex, Lies, and Videotape has a central thesis that ranks as one of the most heartening (no offense Leo) themes ever put to film. Spader's character does have a sense of enlightenment about him, but all he really does is make videos of women talking about sex. What does he know that we don't? Well, it's that a lot of the time, conversation can be more intimate than sex. When Ann asks him "Is that how you get off?" and he responds with a nonchalant "Yeah," the audience starts to realize this as well. Spader is unable to satisfy himself (a-hem) in the usual manner (a-hem again), and therefore has undergone a kind of metamorphosis into both a brilliant conversationalist and a creepy motherfucker. Altogether, the movie hearkens back to the days of Hollywood when dialogue could be considered "erotic," and although the movie has far more intelligence than heart (no offense Leo), it doesn't take itself as exhaustingly seriously as shitfests like Pi. Final Score for Sex, Lies, and Videotape: 8/10 stars. Although parts of the story aren't too original, the addition of the videotapes turns what could have been a very bland story into something far more subversive. This is an expertly crafted movie all around, featuring masterfully restrained yet jaw-dropping performances from the two leading women and a suitably creepy turn by James Spader. The movie does seem to fake its achievements a lot more than it actually meets them, but calling a movie like this "overrated" feels wrong. No, it doesn't quite deserve a 98%. But I'm pleased that so many people recognize it for the twisted masterwork it is.

Carlos M (es) wrote: A pretentious, vapid and depressingly stupid drama that believes to be a lot more beautiful than it is, with cheesy, predictable twists and a baffling lack of insight into anything it sets out to discuss, despite McConaughey putting a lot of dedication into it with a good performance.