The Rocket

The Rocket

Set against the lush backdrop of rural Laos, this spirited drama tells the story of scrappy ten-year-old Ahlo, who yearns to break free from his ill-fated destiny. After his village is displaced to make way for a massive dam, Ahlo escapes with his father and grandmother through the Laotian outback in search of a new home. Along the way, they come across a rocket festival that offers Ahlo a lucrative but dangerous chance to prove his worth.

A boy who is believed to bring bad luck to everyone around him leads his family and two new friends through Laos to find a new home. After a calamity-filled journey through a land scarred ... . You can read more in Google, Youtube, Wiki

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The Rocket torrent reviews

Harry W (us) wrote: Extremely quiet, humble and lucid throughout, Paterson strikes many a match against the dimly lit backdrop of the genre it attempts to infiltrate. I haven't seen much of Jim Jarmusch or Adam Driver, however both seem to compliment each other fascinatingly throughout, with dreamy direction and a committed yet distant performance from Driver. As Paterson chronicles the day to day, menial things the title character does that eventually lead him to extraordinary little glimpses of beauty, love and poetry that are the results of these menial tasks. It's a positive, mood-affirming piece that definitely won't appeal to everyone as sometimes it is quite hard to watch, a little overlong and far too mild to be wholly entertaining. A beautiful little film nonetheless.

Sandra R (jp) wrote: weirdass movie!!! not too bad...its basically about 3 fucked up brothers that live in the middle of nowhere..and nothing! ..:)

Cameron J (it) wrote: I reckon during the Nazi era, Germany was going to conquer Switzerland one way or another, even if all they were going to do was conquer some rock face in the Bernese Alps. 3,970 meters, or 13,020 ft., of cold that is intense by Swiss standards; couldn't Hitler have just challenged Henri Guisan to a game of checkers or something? Oh, well, it's only the north face of the Eiger, which isn't but about, oh, say, 3,970 meters, or 13,020 ft., so what's the big deal? Man, in 2010, they had this film that told the story of a bunch of guys in the '30s who struggled in an intensely snowy environment, as well as "127 Hours", which was about some guy struggling in an intensely rocky environment in the 2000s, so I guess then was particularly the time to let people know to be seriously careful when having fun in the climbing, no matter what time it is. Well, canyoneering isn't quite climbing a blasted mountain, and there have been over 50 attempts after the one portrayed in this film to climb the Nordwand, which is nothing compared to the number of people who have taken on the even taller Mt. Everest, so maybe it's kind of unfortunate that no one is seeing this film, because we white people have never been able to learn. Hey, maybe it's not the Germans trying to outdo the Swiss, but rather white people trying to prove that they can, in fact, be whiter than snow, as there is nothing quite whiter than trying to climb a mountain... up until you turn blue from freezing to death. Yeah, this high from height better be exhilarating, because it's crazy, though it sure does make for a decent film, which isn't to say that you should be too eager, or rather "Eiger" (Nyuk-nyuk-nyuk), about seeing this film, because it, like plenty of people who try to climb famously immense mountains, makes its trips along the way. The film bills itself as historical fiction, and as promised, several of the more broad historical aspects to this story go untouched, yet in plenty of areas, this film sensationalizes its subject matter with the German answer to Hollywood punch-up, which is fine and all, but wouldn't be as questionable as it is if this film didn't emphasize the limited significance to its liberties through storytelling mistakes, such as a sense of manufacturing to dramatic aspects that is arguably at its most intense within a histrionic romantic subplot, whose effectiveness is further hurt by conventionalism, a bit of underwriting and, well, Johanna Wokalek's being, with all do respect, too mightily homely to be entirely believable as a love interest, regardless of her good performance. I wouldn't say that the problems to the often rather artificial-feeling dramatic liberties to this film are all that glaring, but they are there, and they're kind of hard to miss, bloating an already pretty overblown ambition with too much material for narrative evenness, let alone tightness to be all that firmly secured. I found the two-hour runtime of this survival drama questionable when I first heard about it, but after looking more into this film's layered plot concept, and actually observing the extensiveness that went into the storytelling of the final product, I can only say that, yes, the film still feels overlong, though not entirely because of the German "Hollywoodisms" that I just discussed, as there is excess material, perhaps even filler, within the smallest of places that end up going a long way in establishing a sense of repetition and dragging, decidedly exacerbated by a limpness to the atmosphere. The film is compelling enough to keep you going through all of the slow spells, and even delivers on plenty of genuine thrills to help reinforce such compellingness, yet when things slow down, if not quiet down, director Philipp Stlzl chills out (Pun not intended, yet I said it anyways) atmosphere enough to dull things down and distance you, but not without drawing your attention toward the film enough to recognize the aforementioned other storytelling shortcomings, as well as the more natural shortcomings. As worthy as this subject matter is to begin with, and as much as the film desperately works to punch up this story with fictionalized dramatic beats, there's still only so much meat to this minimalist tale about people simply trying to survive the harshness of nature, and while there's enough juice on paper for you to see signs of the rewarding efforts this film comes close to being, too many errors in storytelling are made for you to ignore the limitations within the story that is being rather messily told. Sure, as "127 Hours", the borderline masterpiece of a companion to this 2010 survival drama, reminded us, when done right, films of this type can go a long way, but this isn't really how you get things down, for although the film is borderline rewarding, it grows to lose too much steam to cross the line it clearly wants to cross. That being said, the final product climbs on enough to come close to its goal, carried by enough dramatic tastefulness to get you by, as well as a bit of musical tastefulness to flavor things up. Seeing as how this film has more than a few quiet spells, Christian Kolonovits' score is unevenly used, but when it does arrive, I must say, it's well worth the wait, as Kolonovits really delivers on a surprisingly outstanding richness to his classically-charged musical tastes that is both thoroughly enjoyable on its own, and has a certain dynamic soul to it that compliments a sense of wonderment to the mountain climbing, intensity to the danger and tender heart to the drama. The more manipulative areas to this film can be all but entirely blamed on the shortcomings in writing and direction, so Kolonovits is actually consistent in his complimenting the genuine areas of this drama, as surely as art director Tommy Vgel keeps consistent in complimenting immersion value, whether when he's backing Udo Kramer's clever production designs and Birgit Hutter's tasteful costume designs in order to subtly sell you on the era in which this period piece is set, or when he's backing an illusion of the immensity of the Eiger that is immersively convincing, especially when backed by highlights in Kolja Brandt's grand cinematography. This is a very intimate drama, and at least on a stylistic level, the final product delivers enough in the way of sharpness to immerse you into and sell you on this worthy, humanity-driven story, kind of like the performances. A more momentum-driven bottle thriller, rather than the type of meditative survival drama that gave Tom Hanks and James Franco enough material to really stand out, this film isn't exactly exceptionally well-acted, but as a dramatic character study dealing with such heavy themes as survival, it gives our leads plenty of opportunities to engage, and just about all of them deliver enough on dramatic layers to breathe much life into the heart of this thoughtful thriller. Memorable performances anchor many of the dramatic aspects that drive this intimate ensemble character piece, yet they're decidedly not strong enough to do what people like Hanks and Franco did and carry the final product's compellingness as much as anyone or anything, thus it falls upon the tellers of this worthy tale to carry the final product as successful. As I've been saying time and again, this film's storytelling is not as engrossing as it probably should be, and it's not like this minimalist subject matter opens all that many doors for reward value, but there is a good deal of potential to this film, and much of it is genuinely done justice by such commendable aspects as generally well-rounded characterization within Christoph Silber's, Rupert Henning's, Johannes Naber's and director Phillip Stlzl's slightly bloated script, as well as enough heart to Phillip Stlzl's directorial atmosphere to keep the dull spells from getting too dull, and make the heights in dramatic effectiveness pretty sharp. Stlzl's overambitious efforts are not without their shortcomings, but Stlzl makes sure that you never completely forget what this film could have been, and while you grow too used to the limited momentum of the storytelling, as well as to the missteps in storytelling, there's enough bit to this dramatic thriller for you to catch glimpses of strength through all of the underwhelmingness, and that's enough to make the final product borderline rewarding and conclusively decent. When the chill has passed, the final product is made too cold by manufactured and often formulaic dramatic touches to the historical liberties that also go into supplementing the repetitious bloating, - which is made even more glaring by atmospheric dull spells - as well as by natural shortcomings to its story concept, to survive as generally rewarding, but there is enough excellence to Christian Kolonovits, immersion value to Tommy Vgel's art direction, strength to the acting, and highlights to writing and direction, for "North Face" to stand on the edge of rewarding, which is far enough to keep you going time and again, in spite of shortcomings. 2.75/5 - Decent

Cooper H (gb) wrote: Gone Baby Gone stars Casey Affleck as a P.I. that gets involved in a complicated missing child case. Affleck is great as the lead while Ben Affleck does a fine job keeping the film moving in his directorial debut.

Aisharyya A (au) wrote: A wonderful and wonderful acting. Acting in their first film, Chitrangada Singh, Kay Kay Menon and Shiny Ahuja produced a wonderful performance in this movie set at the time when India was facing a political turmoil during the emergency. An excellent story, wonderful direction and brilliant acting. It is one of the best Hindi movies ever made. It is not just a movie, it is a piece of brilliant art.

Jeff B (mx) wrote: What Rounders did for poker this tries to do for pool. Unfortunately it falls well short of the mark.

Rose B (br) wrote: Love the film...and the book :)

laura b (ca) wrote: Shockingly boring film. Didn't realise the film was cartoon like to start with. Ray winstones voice does not fit in with the film at all. The plot is highly confusing. The start of the film is boring. There doesn't seem to actually be any plot, it's just not flowing or really has any sense of direction.

Chris J (nl) wrote: Decent prison drama with Freeman having a very small role!

Hashim H (gb) wrote: Not since Carpenter's Halloween has the frame been used this ingeniously, potent, primal and genuinely frightening.10/10