The Climb
2016·10m
7.1
★
Recently widowed Julia pushes herself to climb a mountain for the first and only time.
Directed by Lynne Davison
IMDB
N/A
Cast
Joanne Crawford
Julia
Ian Beattie
Darren
Popular Reviews
17 reviews
ailan
8.0★ · 05/26/26
Samy x Johnny CANON
Samy x Johnny CANON
Csicso007PRO
6.0★ · 03/18/26
Részleteiben zseni, de nekem a Splitsvillere érett be ez a páros, az már jóval kiforrottabb.
Részleteiben zseni, de nekem a Splitsvillere érett be ez a páros, az már jóval kiforrottabb.
gangstalkedPRO
5.0★ · 02/03/26
Weird I don’t think I’ve seen this but I had it logged. I enjoyed this but not as much as Splitsville. I wish there was more slapstick sorta physical comedy.
Weird I don’t think I’ve seen this but I had it logged. I enjoyed this but not as much as Splitsville. I wish there was more slapstick sorta physical comedy.
FatHatJurassicKid
6.0★ · 12/14/21
The short had a magic that's kind of missing here. That being said, decent freshmen feature. Thought it could have ended earlier (say...ice fishing scene)
The short had a magic that's kind of missing here. That being said, decent freshmen feature. Thought it could have ended earlier (say...ice fishing scene)
LeonDeon
9.0★ · 02/01/21
Michael Angelo Covino’s The Climb is the indie darling that is daring with its examination of friendships. It has a tapestry of knowledge creating interwoven stories, etching pain and laughs along the line. The wrinkles grow, the years pass, and the memories stack onto oneself. In each scene of The Climb friends Kyle (Kyle Marvin) and Mike (Michael Angelo Covino) inflict pain dealing with each other's shortcomings and Mike’s toxicity. It is a film that is astonishingly honest and spectacular as a debut. Covino and Marvin’s script focuses on the tumultuous relationship these lifelong friends have with their ups and mostly downs.
While the script is fantastic, the true marvel of the film is the technical precision is on another. Most other indies of this class aim to have point and shoot techniques, but The Climb opts to have the camera weave in and out of the scenery floating along. While moving from character to character in any scene, the camera never loses emotional focus, moving from conversation to conversation. It strings us back to the climax whilst making it satisfying in its death of friendships and rebirths of old wounds.
The comedy and drama go hand in hand. With exact timing, a joke will be delivered with an elegiac tone to it. The best example of this being the introduction of the film where we meet Kyle and Mike riding bikes across the French countryside. As Kyle struggles to keep up with Mike, Mike signals a shocking truth that challenges their friendship, although this is new to us we can get the sense that Mike has done contemptible actions like this before. In other films this would be an emotional high point where everything is causing the drama we pay to see, this is just the start of what is to come. The Climb fuses the two genres together creating rapid fire comedy to then splash us with melodrama, but it never feels like a tonal miss but a perfect combination of the two. It helps elevate the story, keeping us on our toes through the runtime because of how volatile this friendship is. What we do know is that this is going to keep us glued to the screen awaiting what comes next.
The Climb is an achievement. It is never showy with its filmmaking choices. Covino and crew were creative with the blocking, rhythm, and locals with the film utilizing the tools necessary to make the film we see today. It is especially great at keeping us interested in this friendship that has several folds to its drama and history. It mixes comedy with its cinematic knowledge to nail the punchlines orchestrating a sentimental and jaded ending that is an achievement on its own to pull off successfully.
While the script is fantastic, the true marvel of the film is the technical precision is on another. Most other indies of this class aim to have point and shoot techniques, but The Climb opts to have the camera weave in and out of the scenery floating along. While moving from character to character in any scene, the camera never loses emotional focus, moving from conversation to conversation. It strings us back to the climax whilst making it satisfying in its death of friendships and rebirths of old wounds.
The comedy and drama go hand in hand. With exact timing, a joke will be delivered with an elegiac tone to it. The best example of this being the introduction of the film where we meet Kyle and Mike riding bikes across the French countryside. As Kyle struggles to keep up with Mike, Mike signals a shocking truth that challenges their friendship, although this is new to us we can get the sense that Mike has done contemptible actions like this before. In other films this would be an emotional high point where everything is causing the drama we pay to see, this is just the start of what is to come. The Climb fuses the two genres together creating rapid fire comedy to then splash us with melodrama, but it never feels like a tonal miss but a perfect combination of the two. It helps elevate the story, keeping us on our toes through the runtime because of how volatile this friendship is. What we do know is that this is going to keep us glued to the screen awaiting what comes next.
The Climb is an achievement. It is never showy with its filmmaking choices. Covino and crew were creative with the blocking, rhythm, and locals with the film utilizing the tools necessary to make the film we see today. It is especially great at keeping us interested in this friendship that has several folds to its drama and history. It mixes comedy with its cinematic knowledge to nail the punchlines orchestrating a sentimental and jaded ending that is an achievement on its own to pull off successfully.
Michael Angelo Covino’s The Climb is the indie darling that is daring with its examination of friendships. It has a tapestry of knowledge creating interwoven stories, etching pain and laughs along the line. The wrinkles grow, the years pass, and the memories stack onto oneself. In each scene of The Climb friends Kyle (Kyle Marvin) and Mike (Michael Angelo Covino) inflict pain dealing with each other's shortcomings and Mike’s toxicity. It is a film that is astonishingly honest and spectacular as a debut. Covino and Marvin’s script focuses on the tumultuous relationship these lifelong friends have with their ups and mostly downs.
While the script is fantastic, the true marvel of the film is the technical precision is on another. Most other indies of this class aim to have point and shoot techniques, but The Climb opts to have the camera weave in and out of the scenery floating along. While moving from character to character in any scene, the camera never loses emotional focus, moving from conversation to conversation. It strings us back to the climax whilst making it satisfying in its death of friendships and rebirths of old wounds.
The comedy and drama go hand in hand. With exact timing, a joke will be delivered with an elegiac tone to it. The best example of this being the introduction of the film where we meet Kyle and Mike riding bikes across the French countryside. As Kyle struggles to keep up with Mike, Mike signals a shocking truth that challenges their friendship, although this is new to us we can get the sense that Mike has done contemptible actions like this before. In other films this would be an emotional high point where everything is causing the drama we pay to see, this is just the start of what is to come. The Climb fuses the two genres together creating rapid fire comedy to then splash us with melodrama, but it never feels like a tonal miss but a perfect combination of the two. It helps elevate the story, keeping us on our toes through the runtime because of how volatile this friendship is. What we do know is that this is going to keep us glued to the screen awaiting what comes next.
The Climb is an achievement. It is never showy with its filmmaking choices. Covino and crew were creative with the blocking, rhythm, and locals with the film utilizing the tools necessary to make the film we see today. It is especially great at keeping us interested in this friendship that has several folds to its drama and history. It mixes comedy with its cinematic knowledge to nail the punchlines orchestrating a sentimental and jaded ending that is an achievement on its own to pull off successfully.
While the script is fantastic, the true marvel of the film is the technical precision is on another. Most other indies of this class aim to have point and shoot techniques, but The Climb opts to have the camera weave in and out of the scenery floating along. While moving from character to character in any scene, the camera never loses emotional focus, moving from conversation to conversation. It strings us back to the climax whilst making it satisfying in its death of friendships and rebirths of old wounds.
The comedy and drama go hand in hand. With exact timing, a joke will be delivered with an elegiac tone to it. The best example of this being the introduction of the film where we meet Kyle and Mike riding bikes across the French countryside. As Kyle struggles to keep up with Mike, Mike signals a shocking truth that challenges their friendship, although this is new to us we can get the sense that Mike has done contemptible actions like this before. In other films this would be an emotional high point where everything is causing the drama we pay to see, this is just the start of what is to come. The Climb fuses the two genres together creating rapid fire comedy to then splash us with melodrama, but it never feels like a tonal miss but a perfect combination of the two. It helps elevate the story, keeping us on our toes through the runtime because of how volatile this friendship is. What we do know is that this is going to keep us glued to the screen awaiting what comes next.
The Climb is an achievement. It is never showy with its filmmaking choices. Covino and crew were creative with the blocking, rhythm, and locals with the film utilizing the tools necessary to make the film we see today. It is especially great at keeping us interested in this friendship that has several folds to its drama and history. It mixes comedy with its cinematic knowledge to nail the punchlines orchestrating a sentimental and jaded ending that is an achievement on its own to pull off successfully.