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It’s one big merry-go-round of emotions that makes the viewer pull tissues out of boxes from the first to the last minute for both the happy and sad moments of human life. Fortunately, Marc Forster has it firmly in hand, so there’s no risk of the impression of flattering pandering and mechanical milking of tears. This is mainly due to the fresh-faced actors who went all out without having to look like a bunch of enthusiastic amateur actors who came to tell the "West" something important. Yes, the outcome of the Afghan mission after all these years is questionable, to say the least, but that doesn’t really matter when the rest of the film is entertaining almost the entire time. 4 ½. (26.05.2009)

I already expected a great life story from the premise. At the same time, I had no idea that Afghanistan was a relatively nice Muslim country in 1970s, where women were considered equal to men, and most importantly, you could see what a pretty Afghan woman looked like because women didn’t need to cover themselves up. The Kite Runner not only made me realize that but also offered a powerful family drama, that couldn’t be written by anybody else but fate itself. It is filmed in a very strange way and to be honest I was debating for a long time whether to give 3- or 4-star rating. But in the end, I had a hard time not to cry so I settled on four. The Kite Runner is a very good movie, with a few weaker moments. But the premise trumps everything with its realness. (06.06.2017)

The main problem with the film is the script, which somehow doesn't let Forster get going to a greater extent. Compared to the book, everything is, of course, more condensed and more concise, but above all, also unfortunately more superficial and more Americanized. The dramatic culmination of the film lacks the urgency and poignancy of the book prototypes, the relationships of the characters flatten out, and somehow the intimacy between the narrator and the reader that Hosseini was able to provide in his novel disappears. It's hard to say to what extent it was possible to be able to do something about it. However, even Forster's directing is surprisingly chilling and professorial, devoid of the keen absorption that was in Finding Neverland. But I don’t want to be unfair. Even Hosseini’s diluted story is still impressive and magnetizes through its inner force. The acting of the adult Amír and his grandmother are particularly pleasing. The soundtrack by Spaniard Iglesias has the same power and sensitivity as his work for Pedro Almodovar. Surprisingly, I liked The Kite Runner the most in the middle, the American part, which most of all captured Amir's relationship with his father very faithfully. Despite my slight disappointment, I mostly see Forster's film positively. (06.04.2008)

In principle, the plot is a trivial story of guilt, conscience, punishment, redemption and the power of friendship. What distinctively lifts the quality of the book version, apart from the narrating talent of Khaled Hosseini, is also the for us unusual cultural environment, stories inside stories, caste details, depiction of cultural differences and growing up on the background of hectic upheavals in Afghanistan and later in America. In other words, precisely the things in an adaptation that are in danger of being severely pruned or even figure among the first on the list of stuff waiting to be edited out... And that’s exactly what happened. Only a simplified skeleton of the basic plot remained, on its own completely trivial and an uninteresting. Just all set in attractive surroundings. So its exceptionality lies there. Even though David Benioff knew what he was doing at places when he found the courage to cut out whole last quarter of the original, as long story of a boy and how he was smuggled onto American soil and emotionally draining scenes involving suicide. On the other hand it would make the perfect tear drawing moments for the silver screen. The actors are precise most of the time, the children’s roles even perfect, but there’s a catch. The adult Amira. He is dull and completely without any spark and I didn’t believe a word he said, let alone his stare. And Marc Foster? Again exceptional, even though this time this playful artist keeps in the background most of the time and excels only in the ingenious airborne duels. So in the end The Kite Runner is all right as a movie, but a mediocre and needless adaptation. (10.02.2008)

I would gladly have blasted the film as an Oscar-winning ethnic warm-hearted gay pleasure cruise if I hadn't just a month ago listened to the stories of an acquaintance who had spent a year in Afghanistan. And that's why I appreciate a film that not only explains why the country is a barren dry yellow wasteland and the national pastime is to sit and stare straight ahead for five hours, but more importantly, explores the legacy of a once-proud nation without wiping its ass with the specifics and adapting them to Western perceptions. (21.05.2013)

Marc Forster tells a story about friendship, guilt, and a religion that has its own laws and rules – and he again tells it impressively and excellently. Following the excellent debut Monster's Ball, the equally excellent Finding Neverland, and the magnificent As Good As It Gets (I haven't seen Stay yet, but I'm going to), The Kite Runner is once again a near-perfect achievement, and one that shows particularly great directorial flair. I think we can still expect great things from Forster in the future and I hope my prediction comes true with a Best Picture Oscar-winning film :) (13.09.2009)