Imaginaerum tells the story of an elderly composer, Tom, who suffers from severe dementia. As he has had the disease for years and has regressed into childhood, he remembers practically nothing from his adult life. His music, friends, all his past including the memory of his daughter are a blur in his fragile mind. All he has left is the imagination of a ten year old boy. As he drifts away into coma, it seems impossible to get back what he has lost. Or is it?

Tom, an elderly musican, lapsed into a coma afters years of suffering from dementia which turn him into his ten-years-old memories. Tom travels in his imaginary world looking for his memory while his daughter, Gem, tries to recover the faded bond between her and her father in the real world. Could Tom regains his memories and Gem relize the true love her father give her? . You can read more in Google, Youtube, Wiki


Imaginaerum torrent reviews

susan w (nl) wrote: AwesomeBest monster high movie I ever seen and I seen all of them

Mandy C (kr) wrote: Love, like all great architectures are built on a solid and steady foundation. The nave and silly things one will do, even the simplest things like sharing one beautiful song together and the idea of a dream home is enough to last a lifetime.And the scriptwriter has done a good job in sending out the message that love stories doesn't always need a happy together ending. It's those small little happy memories that we once shared which is enough to light us up a lifetime.

Evan H (es) wrote: It's a pretty funny movie with a pretty good cast. At times it tried to manipulate the viewers emotions. It was amateurish as well but I don't care what people say. I actually liked it!

Jeff B (it) wrote: OK, again, as I've said before, there's a handful of plots running around Hollywood that just keep getting used over and over again. So that Homefront isn't original should be no surprise to anyone nor a major detractor from overall enjoyment of the film. You've got an all-star cast that does a bang up job. What would you expect from Statham, Franko, Ryder, and Bosworth (playing the strung out addict so well she's near unrecognizable). Yes, it's the old ex military, govt., cop on the lamb in early retirement, exile, etc. because of a family tragedy. Yeah, you've seen this one before. And he's living in complete anonymity until an encounter requires him to use his special set of skills (are you out there Liam?) So he does. And to cut the story short, he out duels great odds, kicks ass over and again-and it doesn't matter if it's one, two, three or more, he kicks ass--and destroys the evil element. Hey, he even makes friends with a few of his adversaries in the end. Why? Because he's the "good guy" that's why. Solid acting, solid action, and pretty much what anyone would expect from this group of fine actors.

Carlos Z (mx) wrote: Quirky and cute film.

Tiffany C (au) wrote: it was sort of disgustingly scary.

Jamie C (br) wrote: An above average space adventure that has some fun easy characters to like and care for, With some funny humour and good action scenes it's all fun but the story has been done so many times it's hard to love and the effects weren't great, A few things that I struggled to get round but the ending was great and made up for other things, There's plenty like this film but it's one of the better ones.

Iasia D (it) wrote: this is another good date movie!

Dragana T (ag) wrote: it's not horrorit is based on the historical facts about vlad tepes

MF J (us) wrote: I watched this film 4 times at the movies , i liked it so much. The cinematography is absolutely beautiful, the story is really good & Salma Hayek, Geoffrey Rush & Alfred Molina find here their best acting parts ever. This is just a very good movie, well made and solidly conceived to be more than a biography but rather an art experience about the work of Frida Khalo.

Rich M (jp) wrote: who wants this gay movie

W David L (mx) wrote: Directed by Starsky. Or was it Hutch? Which was the brunette? He did this.

Paul Z (br) wrote: One questions why a 73-year-old man who has spent more than 43 years in solitary confinement hasn't been paroled by Federal authorities like the Attorney General. Could they have based their rejections on facts and incidents not observed in the almost uniformly good behavior of the eponymous Birdman? Regardless, these uncertainties don't discredit the generally forceful special pleading and stark drama involved in the history of a basically unlettered man whose rehabilitation was affected in a remarkable and, perhaps, unprecedented manner. If what we see in the film is just as true as what may be omitted, he's still an enormously sympathetic character. Were he to have committed a cold-blooded crime, for example, that wouldn't overturn the tender humanity genuinely evinced with such integrity in what Frankenheimer shows us. Birdman of Alcatraz is shaped with subtlety and almost unilateral attention to characterization, the result being that the characters, from start to finish, and thus the whole film in all its pros and cons, are remarkable and invigorating. The lifer's stubbornness is his artistic methodology, voiced early on by his loyal guard who says, "You ain't got much, but you keep subtractin'!" Lancaster's Robert Stroud is the "real and living man" of the film's caption, a massive mama's boy shown to us while traveling to Leavenworth where he meets Malden's single-mindedly despotic warden, his arch-rival. In solitary confinement the homicidal "dingbat" finds himself keen on a fallen sparrow and steadily transforms his cell into a makeshift aviary. In this in-depth, far-reaching construct of the Frankenheimer social exile, the solemnity of this biopic gives persuasiveness to the cutting silliness of men who resort to canaries simply so they don't shank one another and then become old together anyhow. It's about the arduous physical effort of science, about learning consideration from that guard, played by Neville Brand, about pushing to discover means to break their confined environs. Notice the way Frankenheimer has the brass band in the dinner hall fall quiet so we can hear the shiv going into a stomach. And notice the twist of its supporting cast, an outstanding rota of transformations: Telly Savalas's monologue about ugly parrots and ugly girlfriends, the spasm on Thelma Ritter's mouth that betrays her as the connection to Angela Lansbury's motherly monster in The Manchurian Candidate. In spite of it all, the movie's postscript reflects the present world from Stroud's unflappable outlook. Frankenheimer's control focuses on the growth of his hero, a gloomy, outwardly unfixable lifer, rescued from capital punishment by the appeals of his mother to Mrs. Woodrow Wilson, into an autodidactic scientific examiner and a man whose survival thus adopted significance and import. The collaboration between director and star stand out with realism of fine distinction and regulation. We're inclined to accept as true that the hatchling sparrow he discovers when he takes his forlorn exercise time will budge this callous convict out of his desolation. The more his noble concern with keeping it alive grows, the more we're awestruck by his longing to understand more about the virus that kills some of the numerous feathered companions he finagles to be allowed to raise. What's fascinating about it? His interest is not intellectual. It's primal. His rapport with that neighboring inmate through the bricks, played in inarticulate but entirely telling fashion by Savalas, is less about Lancaster's re-emergence from anti-social patterns than it is about the infectiousness of the human instinct to have companionship and understand more. In such a dark, dank milieu, with such somberly hushed tones throughout, we applaud the notion that, in the end, his overpoweringly acute passion for these animals, a devotion that fuels his will to live in his captivity, gives rise to his maturity as a man of knowledge and the author of a classic volume on diseases and cures in ornithology. The devotion of Tom Gaddis, who wrote Stroud's biography, as well as the attachment of screenwriter Guy Trosper, together with Frankenheimer and Lancaster, are palpable and real. The drama they extracted from the up-to-then ongoing true story is both touching and credible albeit the entirety of the particulars don't emerge on the screen. As the dramatization of the profile of an inmate uncommon, if not exceptional, to the history of American penology, it keeps part of the portrait in shadow, but it is, all the same, a meditative and compelling story that cuts into the soul notwithstanding its oversights. An acknowledgment of the nerve required to blaze a trail, this is unquestionably one of Frankenheimer's most contemplative films.

Sean C (de) wrote: Oddly serious at the onset and severely faltering once the rickety special effects have to take center stage, The Giant Behemoth is still better than most "atomic age" b-movies.

Audrey L (fr) wrote: Williams and Kazan ~ technicolor CHEKOV in black and white....Oh the humanity and the horror...the horror. Still reeling from seeing this for the first time today.

Paul D (kr) wrote: A wonderful sci-fi certainly feeling ahead of its time, tapping in well to the new space race taking place at the time of its release. It's a very wordy film though with Leslie Nielsen looking extremely young.

Chad D (de) wrote: it took me literally 25 years to finish this film.

Mad M (us) wrote: Meh. Woody does a good job. Kingsley is underutilized. The lead is hard to connect with, so the the thrills are blunted.