The Rider(in Hollywood Movies) The Rider (2018) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream The Rider on your mobile, tablets and ipads
Plot: Brady Blackburn, a rodeo bronc rider with some renown, learned everything he knows about horses and riding from his parents, Wayne and the now deceased Mari Blackburn. Brady is recovering from a fall off a bronking horse in a rodeo, the most serious of the injuries being a skull fracture which… Runtime: 104 min Release Date: 13 Apr 2018
What a magnificent film. It's a simple story, one that has been told before, but the execution has almost never been better. It has a lot in common with The Wrestler, but it's way less flawed than that. Visually the film is incredibly beautiful, with some amazing shots and really accomplished editing. As strong as the screenplay is, it's the acting and directing that make this as powerful as it is. I had an actual visceral reaction to it in a way I rarely do to any type of film. The portrayal of the disintegration of body and the sacrifices people take to accomplish these dreams <more>
was captured in such a raw, painfully realistic way. Consideing the background of the people who act in the film, it's not a surprise. In particular, Brady Jandreau is a true revelation. There's a profound sadness that he is able to capture in the close-ups of his face. The camera is able to capture so much of his nuances and every little reaction to the comments said by others hits deep. In line with the entire film, it's hard to see this as an "acting" performance because everything feels so genuine. There have been many great films this year but this now stands as easily the best so far.
One of the best movies of 2018 so far: authentic, fresh, heartfelt (by vsks)
The movie The Rider isn't really about rodeo. It's a character study and an exploration of what it means to lose your dreams, and how to be a man in a culture that glorifies danger. Writer-Director Chloé Zhao may have been born in Beijing, but she has made one of the most authentic films about the West in recent years and one of the best films of the year so far. Don't miss it! She's drawn on the real-life story of a young man's recovery from a rodeo injury that nearly killed him and probably will if he falls again. Brady Blackburn played by Brady Jandreau had a solid <more>
career on the rodeo circuit in front of him. As the film opens, his skull looks like Frankenstein's monster, a metal plate rides underneath, and he has an occasional immobililty in his right hand-his rope hand. The doctor tells him no more riding, no more rodeo. She might as well tell him not to breathe. He's "recuperating," but determined to get back in the saddle. He lives in a trailer with his father Tim Jandreau , who puts on a gruff front, and feisty 15-year-old sister, Lilly Lilly Jandreau , who has some degree of Asperger's. The disappointment his fans feel when they find him working at a supermarket is visible to the taciturn Brady and to us. In his spare time-and this is where the movie comes spectacularly to life-he trains horses. Watching him work with them, you know for sure that he's no actor. This is his real-life job, and Zhao has captured those delicate moments of growing trust. Not that interested in rodeo? You don't see much of it. And most of the rodeo scenes are in the video clips Brady and his best friend Lane watch. Watching them watching is the bittersweet point. Lane was a star bull-rider now unable to walk or speak. The way Brady interacts with him is full of true generosity and mutual affection. When Brady throws his saddle into the truck to go to another rodeo, in vain his father tells him not to. The father accuses him of never listening to him, and Brady says, "I do listen to you. I've always listened to you. It's you who said, 'Cowboy up,' 'Grit your teeth,' 'Be a man,'" the kinds of messages men give their sons that sometimes boomerang back to break their hearts. Cinematographer James Joshua Richards's deft close-in camerawork captures the personalities of the horses, and his wide views put the windswept grasslands of South Dakota's Badlands and Pine Ridge Indian Reservation. The film is shot partly on the Lakota reservation, but not much is made of the cast's Native American heritage. By grounding the script in Brady's real-life recovery and by surrounding him with his real-life family and friends, Zhao creates a wholly natural feel for the film, which has been nominated for five Independent Spirit Awards. And what was it like for Brady to work with the filmmaker? "She was able to step into our world: riding horses, moving cows, stuff like that. Why should we be scared to step foot into her world?" he said in a Vanity Fair story by Nicole Sperling. "She would do things like get on a 1,700-pound animal for us. And trust us. So we did the same. We got on her 1,700-pound animal."
None-actors relive broken rodeo rider's recovery of self-respect (by maurice_yacowar)
Remember when America was the light unto nations? Then its independence, principled individualism and the ethical core of the civilization it brought to the frontier all made The Cowboy its natural icon. America was The Cowboy. Sometimes it was the world's sheriff - like Will Kane. Sometimes - like Shane - he was the outlaw breaking from the community - at best, to serve it. But the Cowboy American was always the self-reliant man of principle, truth and honour. He lived and died by the code. He was also at one with his natural world of healthy, sprawling space, wild tameable horses and <more>
bursting dawns. He would build for his, his community's and his nation's dream of the future. As the times and America changed, so did the Western film. The genre was inflected to reflect the nation's changing identity - the sweep westward, the building of the railroad, the conquest of the wild, the towns burgeoning into the modern urban, the outside wars, the McCarthyist suspension of American values, their recovery in the revolt against racism, Kennedy's New Frontier. The genre even accommodated the anti-hero spin of the '70s, and ultimately the newer frontier of space, when Star Wars grows out of The Searchers. The Western was the genre for all ages. Understandably, then, when a woman director born in China turns to make a contemporary American western she addresses the dominant current in contemporary America. The story of a broken cowboy - deprived of the macho career on which he based his life and self-worth - reflects a broken America, crippled by its self-destructive and obsolete principles of "manliness." Any smack of a swagger seems delusional. In its clarity, humanity and realism this film stands alone in current American cinema. The cast has no actors. From hero Brady, his real father and sister, through his friends and rodeo colleagues, down to the even more broken ex-rodeo star Lane Scott, the performers are living or reliving their lives, not playing roles. If it's sometimes painful to witness such honesty, it's all the more moving and exhilarating. The dialogue doesn't feel scripted. The lighting is natural. The events unfold with constant twists and surprises - like life. There are no formulae here. Whenever we think we know what'll happen - a miracle cure, a new career training horses, a return to the rodeo, whether heroic or fatal - the story squirts away. Like life. The actors playing themselves here ring truer than Clint Eastwood's experiment with the real heroes in The 15:17 to Paris. That plot seemed cut to ennoble them. Not here. Mainly, though, none of Eastwood's performers caught the sense of interior life, that the Jandreau family and Lane Scott reveal here. Eastwood's gave their lines and went through the motions. Thanks to director Chloe Zhao these characters are feeling and thinking anew, intensely. The sister Lily is especially important. The mother dead, Lily is the only woman in the macho family. She has the purity and innocence of her name. A young girl with functional Asperger's, she's like a mustang in the family. Her words, mind and gestures are wild and unpredictable, but they careen into truth, as her whimsical singing does into beauty. Protecting Lily is an unspoken motive for Brady to keep on living, after his life's passion and purpose are gone. He can't put himself down like his broken horse Apollo. In his first clear sign of understanding his son, Brady's father brings Lily to the rodeo where Brady is intent upon a possibly fatal ride. Some key scenes reach poetic intensity. Brady breaks one horse with quiet delicacy, then a wilder one with a hard aggressiveness. In both cases he shows the sensitivity to realize what the horse needs. He adjusts to his partner. As it happens, the wilder horse is doomed from an unseen battle with a barbed wire fence. In contrast, the once wild Lane Scott is now completely crippled and helpless but he has the spirit to carry on. He has developed a digital system of "talking" to Brady. They watch Lane's old rodeo success videos with more relish for what he was then than feeling reduced by what he is now. Brady takes Lane through rehab parodies of riding, which proves as useful a rehab for Brady as for Lane. He finds another reason to live. The broken Lane delivers the film's most resonant, but ambivalent, line:"Don't give up on your dream." Sounds good. But coming from a helpless, crippled man, that's hardly good advice. That lesson may seem constructive but it's not. Lane's watching his old videos is not pursuing his dream but re-viewing the dream that died. Remembering the dashed dream may provide some consolation, but he can't "pursue" it any more. Perhaps this is Zhao's key message to her adopted America: Don't be seduced into pursuing an impossible dream, a dream unrelated to reality. Pursuing his dream would take Brady on ride after ride till he's killed. Instead, perhaps, pursue your dream as long as you can, but adapt to reality. Brady fulfills his life not by pursuing his childhood rodeo dream but by accepting the adult responsibilities of staying alive and helping Lily and Lane. For America, that lesson translates to developing an awareness of one's self and one's situation, within its borders and beyond. Adjust the dream to reality and steer clear of the snake oil salesmen and cons who play on your vanity and offer to recover a past that you either can't or shouldn't. The "American Dream" - the promise that anyone can become anything they want in America - was never a guarantee. With that pitch, a con plunged the nation into its current nightmare. There's another tacit lesson in the circle of Brady's rodeo friends. Nothing is made of this, but it's clearly there. His friends are a comfortable mix of indigenous Americans, Latino, Mexican. That's the classic melting pot - that's really what made America great. Indeed, the America based on human rights, freedom, equality and democratic values and government, that dream - currently suspended - is worth pursuing. .
Saw this at Sundance. Great film. None of the people in the film are actors. It aids in the realism but also is a testament to the director's ability. This is a subtle, emotionally impactful experience. By the end of it your heart breaks but is also hopeful. Good story of friendship and also coming to grips with not being able to do what you truly love to do. How does one make life meaningful?
A truly great movie that brought me to tears (by garygwilliams)
I love big budget blockbusters like Black Panther and Infinity Wars but there is a special place in my heart for the little guy with the little film with a little budget that can still bring the story home. I do not usually like sad stories. I firmly believe that movies should first entertain and then teach a lesson just like the best children's story. This is sometimes painful to watch but you have to root for Brady Blackburn. The shots of the Badlands are spectacular, the emotion heartfelt and the filmmaker's vision realized.
A JUXTAPOSED RIDER (by babyjaguar)
This film by director, Zhoa is a remarkable attempt in giving an emotional depth to the rural American cultural landscape by displaying social class. Its centers the story on an young working class man trying to get a grip on his "manhood" via a surrogate "family" of diverse characters not to be picky, but some of the acting was little off/over the top . The film's strength is the juxtaposed imagery belonging both to the "serene" rural landscape and the "hyper-masculine" subculture of rodeo. It explores visually the "rites of passage" for <more>
young rodeo riders, held steadily by the newly found acting talents of Brady Jandreau. Although many reviews are labeling this filmwork as "docudrama" I feel that it follows the cinematic traditions of Italian "neo-realism" and South American "hunger aesthetics" founded by noted filmmakers such as Walter Salles.
The joy of doing what you love burns away any pain. For Brady, a rodeo rider who just emerged from a coma, the joy and pain come in equal measure. Brady is told not to ride again. "Play the cards you are dealt," says his father "let it go." Yet Brady's purpose in life is hitched to riding horses. Also, living in a trailer and eating rabbit soup is not the stuff of champions. In the starlight, around a campfire with friends, listening to his little sister sing simple yet beautiful songs, and in dreams, Brady ponders his next moves.This authentic and heart-rending film <more>
integrates the real lives of the actors into the story. It is balanced in its portrayal and rightly does not cast judgment. The cinematography is up close and intimate so that emotions are revealed in faces and eyes horse and human as much as words. While the director, actors and horses are just starting out in their film making careers and it shows, there is power and magic in how genuine they are in their portrayals. In a sense, they have been preparing for this film their entire lives. Human nature and the real West are on display here, and there is as much beauty in that as there is in the prairie sunrise. Seen at the Toronto International Film Festival.
Greetings again from the darkness. Sometimes the universe creates its own balance. Watching this little independent gem the day before watching the new Avengers movie reinforces what a diverse art form the cinema provides. Writer/director Chloe Zhao continues to make her presence felt as a filmmaker, and movie lovers are the beneficiaries. While filming her feature film debut SONGS MY BROTHER TAUGHT ME on the Pine Ridge Reservation in South Dakota in 2015, Ms. Zhao met Brady Jandreau, a rising young star on the rodeo circuit. She knew a movie was in their future, but it wasn't until the <more>
following year when the story wrote itself. Brady suffered a severe head injury after being bucked by a bronco. He was in a coma for 3 days, and a metal plate was screwed into his skull. Doctors warned Brady that riding a horse again could kill him.This is not a documentary, but it's pretty darn close. Brady Jandreau plays Brady Blackburn, a rodeo bronco rider and horse trainer who is recovering from a severe head injury. Mr. Landreau's real father Tim and sister Lilly also appear as themselves. In fact, most of the characters are locals rather than actors, and many including the Jandreaus are part of the Oglala Lakota Sioux tribe on the reservation. Also playing himself is Lane Scott, Brady's best friend who is now paralyzed and unable to speak - the tragic result of another rodeo ride gone wrong. These two are like brothers, and their interactions provide some of the most emotional moments in the movie.The film is more cycle of life, than circle of life. It's about having a lifelong dream snatched from your clutches. We follow Brady as he searches for his new place in life. Campfire confessions with his rodeo buddies portray the bond created by risking life and limb. His mother is dead, and Brady's dad has spent a lifetime telling him to "cowboy up" - meaning, be a man and fight through every situation. Now dad is telling him to "let it go" and "move on". This contradicts his friends who encourage him to not give up on his dream. Brady's moments with his sister Lilly are some of the sweetest and most poignant. Despite her autism, Lilly is precious as she sings songs and offers clear insight to her brother. This is less about acting and more about being. Guns, horses, and pot play significant roles throughout, as does the stunning South Dakota landscape as photographed by cinematographer Joshua James Richards. The intimacy of Brady's internal struggle somehow dwarfs the breathtaking sunsets. His quietly simmering intensity is masked by a stone face that only seems to brighten when around friend Lane, sister Lilly, or training yet another "unbreakable" horse.Rather than traditional story arc, this is simply a compelling way of life for people who put up no false fronts. Brady is trying to figure out how to be a man after life has stolen his dream. One's purpose is essential to one's being, and thanks to filmmaker Zhao we witness how one tough cowboy fights through.
Moving, brilliantly directed Rodeo film as metaphor of the human condition (by lor_)
I was infatuated back in 1971/72 with Hollywood' brief but productive dalliance with the Rodeo film genre, of which Steve Ihnat's "The Honkers" was my favorite alongside the far-better publicized "Junior Bonner", "When the Legends Die" the closest one to "The Rider" and "J.W. Coop". Chinese director Chloe Zhao takes a neo-Realist stab at the format with this affecting, strong and experimental film.Unlike Clint Eastwood's unsuccessful recent film where he had the American heroes of the French railway terrorist incident play <more>
themselves on screen, Chloe has recruited real-life Native Americans from the South Dakota rodeo milieu to play fictional characters close enough to their real-life personae to establish an immediate and realistic connection. Rodeo has long been a metaphor for Western movie themes, especially those end of an era notions favored by Western masters Sam Peckinpah and John Ford, and here Zhao takes the concept one step further by having these modern day cowboys personified by Native Americans of the Lakota tribe whose culture was effectively destroyed by us "Americans", including the cowboys of old.The central protagonist Brady has a face and utterly stoic demeanor the camera loves - a Bronson figure who happens to have the handsome features of a Channing Tatum, but never hitting a false note. His dilemma recalls the Greek myth of Sysiphus, rolling that boulder up the hill only to have it roll back down endlessly, accomplishing nothing. But the difference here is that although he cannot recover from the rodeo accident which renders him unfit to ride anymore actually, in real-life Brady was injured in a car accident, not from rodeo performance he is presented as a brilliant horse whisperer, adding great depth and panache to the movie.His best friend Lance, crippled from rodeo, offers the moving sentimentality that Chloe otherwise scrupulously avoids in her filmmaking, using spectacular visual imagery to give the movie a strength that mere documentary technique wouldn't allow. Subsidiary characters like Brady's autistic sister and stern, incapable of expressing his love dad, are potent real-life people rather than Hollywood constructs, though many a character actor would leap at the chance to play these roles. As I watched the movie I thought of many Sports-related pictures that had covered similar ground, perhaps more intellectually and that achieved classic status. Certainly Brando in Kazan's "On the Waterfront" as the boxer who "coulda been a contender" presents a mirror image to Brady's hero, though their acting styles are diametrically opposed. Kurosawa's "Dersu Uzala" is the most brilliant of these movies but not about sports of a strong spirit overcoming physical hardship, and I was somewhat surprised that director Zhao chose to make the character's Native American background so subtle in terms of her screenplay, as opposed to Kurosawa in a Russian movie emphasizing the outsider nature of Dersu the Siberian hunter from an ethnic minority. Perhaps it is the lack of a stronger, more universal theme as developed in the Kazan and Kurosawa films that prevents "The Rider" from ascending to all-time classic status. But it is still a wonderful movie.