Klara - Don't Be Afraid to Follow Your Dream

Klara - Don't Be Afraid to Follow Your Dream

Klara moves to a small town with his mother after the parents divorced. She feels alienated unable to make friends. Most of the girls in her class likes to ride and to get closer to them, Klara lies about being an experienced rider.

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Klara - Don't Be Afraid to Follow Your Dream torrent reviews

Janine I (mx) wrote: An interesting movie, and heartwarming for the family.

Bohdan M (gb) wrote: One of the least biased assessments of our healthcare system, as well as a few good suggestions. I'm glad we're finally talking about this.

Mike K (gb) wrote: Roger Ebert liked it. Nuff said!

Zach B (es) wrote: No adaptation is perfect. To say that would be a statement that would cause complete and total chaos among all that are in love with whatever material you are talking about. However, in terms of Death Note, while this is not a perfect adaptation, it is an improvement over the original source material. So, does this follow the original manga/ anime? Not really. Doing what Rob Zombie(TM)s Halloween II would do, this film follows the life that the first film had and carries it on. In doing so, what I have here is something that beats the original source material, makes the story much better, and in my opinion, the most definitive version of the story of Light, L, Misa, Ryuk, Rem, and the Death Note. Shususke Kaneko is mainly who I have to thank for this adaptation and how it came out. Picking up right where the last film left off, Kaneko does not go back and reestablishes the characters. He just takes the film and launches it and while going on for the ride, he unleashes the paranoia and fear that Light goes into from the start. Masterfully balancing scenes, tensions, and the overall performances, Kaneko delivers a film, that I am bold enough to say, could actually be a contender to rival Gamera III: Incomplete Struggle or Godzilla, Mothra, and King Ghidora in terms of being his best. The main reason for how he handles this film is his ability to keep the tension fresh at all times, knows when to explode the shocks, and how he has his main three actors act towards the two Shinigami/ Death Gods in this film. But the best showing is of the last thirty minutes. I won(TM)t ruin the film by saying what Kaneko does, but even if you know the ending to Death Note, you won(TM)t see this coming. The acting in this film is more tighter than in the first part, but that is mainly due to the adding of Erika Toda as Misa Amane. With Ekria, Tatsuya Fujiawa, and Kenichi Matsuyama, we have three beyond talented actors/ actress that just breathes new life into their respected characters. Like with the first half, my attention goes to Matsuyama for his portrayal as L. Like I said in the review for the first half of this film (I am going to have to put both Death Note films together as one film), Matsuyama gives a more dedicated performance than what we needed for L, and it is a shame that he is not recognized as much as he should for this film. With Toda and Fujiawa, I was actually delighted with how they handled their scenes with the Shinigami and not making it all look like they were an army of idiots talking to themselves. The acting in this film is so much better then needed, and that just adds all the more power to Kaneko(TM)s story telling. For the special effects for the Death Gods, I still love how they decided to handle Ryuk and Rem. Mainly because they do not try to make them realistic. That is where the fun of watching this film comes from: they just stand out in a rather nice way. With a typical director, he would have the special effects be realistic to the point that they just become creepy. But here, they are creepy to an extant, but they have this cool factor about them that makes them entertaining to watch, plus the amount of emotion they have to the point that you start feeling sympathy and compassion for them is also something I was not expecting to find in this film. Towards the end when one of the two main Death Gods dies, it actually pretty sad due to how much you grow to care for them, due to how much of themselves we see. As with the acting, this is all due to the greatness of Kaneko. I know that a good chunk of this review has been me boasting on the direction of Shusuke Kaneko, but he is what makes this film good. No, not good. Great. Like with Quentin Tarantino(TM)s Kill Bill, Death Note: The Last Name is a complete level higher than the first Death Note film, but the sum of it(TM)s parts is so much more pleasing and wonderful then they are separate. If one must watch this film, make sure you have the first film and watch both back to back. The third Death Note film (L: Change The WorLd) is a totally different subject matter.

Jorge S (us) wrote: Beautiful, moving and a valuable lesson to all.

Tyler V (ru) wrote: Great way to continue the adorable air bud franchise in this spin-off.

Michael C (br) wrote: If you like really weird and obscure foreign film then this movie is for you. Think Transformers meets The Matrix and mix it together in a Martial Arts blender. Add a sprinkle of alien invasion as a dash of terminator time traveling goodness.

Skooter T (mx) wrote: I didn't like that the back story was changed for this. It would have been better if they used the first movie as the past instead of a whole different story.

li b (mx) wrote: I'd been reluctant to see this because of my mistaken impression that it was yet another film making light of mental illness, or implying that sufferers have some special insight or powers that make it all worthwhile. I'm glad to admit I was wrong! When I finally did see it, I was awestruck at its sensitive portrait of the family. Highly recommended.

Paul Z (br) wrote: The Clockmaker is a technically well-crafted precision endeavor in direction, writing, and acting. Director Bertrand Tavernier fashions a subtle, conservative character study asserted into the framework of a crime story, a study of an aging, middle-class clockmaker with a downcast disposition, played, or rather inhabited, by Philippe Noiret. This commonplace man is stunned out of his sluggishness when he finds out that his only son has been arrested for murder.What is poignant about this story, and what improves the usually dormant drama of a crime film, is that Noiret lives quietly, alone with his son, who is almost grown up. In other words, his son is his whole tranquil life. Yet, when a detective played by mulishly tenacious Jean Rochefort asks him for help with the case, Noiret grasps how little he knows about his son, and struggles with his feeling that he is unable to blame him.The film opens on Noiret having a night out, when his friends crack wise on the elections, the leftists, a protest rally, and the death penalty. He has fun this night. The next day two policemen come to his shop and rummage around his adjoining apartment. They particularly search his son's room before taking him to the police station where Rochefort tells him his son is wanted for murder of a security guard at the place where his girlfriend was fired, and has not been apprehended. There was even an eyewitness.Tavernier puts Noiret's character through a motley crew of odd dramatic angles aside from just the press, who are of course just interested in ratings, but also tangents to the main thread of the film like right-wing hooligans who vandalize his window and two girls who confirm how vile the murdered guard was to women. The skillful essence of the film is in the abstractness of it, giving us impressions of how much his relationship with his son means to him, and how bewildered he is that he has no idea what to do to help his son, such as in his transit back home from the precinct and can't stand without feeling ill and has to ask a passenger for his seat.The film is not hard-hitting enough to be great, but it serves its locale with an authentic atmosphere. The story itself, no matter how well it poignantly portrays a world in miniature, is nevertheless very slight. On the whole, The Clockmaker is a dramatic exercise. As many other French films from the 1960s and '70s were, it is less about telling the story and more about technique. It doesn't compare to the boisterousness and self-consciousness of most of the New Wave films of that time, and in fact is a particularly subtle film. It is essentially a film that says of film-making, "Yes, less is more."

Shane G (mx) wrote: bitches with beards....?

Mark D (ru) wrote: Purely interested from the Bava aspect. I didnt really find it that entertaining and surely thats a rip off of the Odyssey but Hercules taking the lead role. Not great.

Private U (fr) wrote: Interesting, but nothing special. Monroe's talents were squandered here. The rest of the cast was average, as was the story.

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