The Forlorn

The Forlorn

Richa, a young lady moves in to a new apartment. Sambit, a psychologist, lives in her adjacent apartment. The previous occupant of Richa's new apartment is dead and Richa finds a diary of ...

  • Rating:
    4.00 out of 5
  • Length:46 minutes
  • Release:2011
  • Language:Bengali
  • Reference:Imdb
  • Keywords:The Forlorn 2011 full movies, The Forlorn torrents movie

Richa, a young lady moves in to a new apartment. Sambit, a psychologist, lives in her adjacent apartment. The previous occupant of Richa's new apartment is dead and Richa finds a diary of ... . You can read more in Google, Youtube, Wiki

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The Forlorn torrent reviews

JuanKa P (kr) wrote: Jim Grant ( Robert Redford) es en realidad Nick Sloan. Mientras Jim es un abogado y un padre soltero que vive en las afueras de Albany (Nueva York) con su hija. 'Nick Sloan' es la identidad que corresponde a su vida pasada, como miembro de un grupo revolucionario que se disolvi a raz de un crimen. La vida de Jim o Nick, cambiarcuando Ben Shepard (Shia Labeouf) descubre la complicada historia de todos los implicados, sus ubicaciones y ocupaciones actuales. Jim, quiere probar su inocencia a toda costa e intentar por todos los medios liberarse de la persecucin del FBI

Richard G (nl) wrote: better than what critics have to say about it,critics what do they know

Richard H (fr) wrote: A one night stand becomes a two day relationship. The two leads are brilliant in their roles and play the short relationship with a true fluency. The whole film looks like it was filmed on a 5D or something similar and the de-saturated palette doesn't really help at all, leaving all the lines to blur into one another and become a mess of grey. It was probably a conscious decision but it was one I wouldn't have taken myself.

xcv v (us) wrote: This effort from View Askew Productions is "TV Movie" worthy, however this isn't a good film. Essentially if you haven't heard of it, the Clown mascot from View Askew which featured at the beginning of "Clerks" got his own movie, and it's the most buggered up story of a mascot i've every heard. Essentially the Clown who is down and out, sees a way to make easy money by doing a bit more "adult" themed parties, he get's gang-raped and too scared to tell anyone about it, soon he intervenes a hostage situation, is dubbed a hero by the media and given his own TV Show. Threatning to expose the tape of him getting raped, things esculate to a point where all in all everything is rapped up and everything is not so happily ever after but back to normal, as normal as it can get. Like i said no cinematic masterpiece by any means, However the only reason i feel i should talk about this film is Brian O'Hallaran performances as the Clown (Brian played Dante, also in "Clerks") Brian to me is a great actor, sadly he is the only convincing one in this entire movie, he definately manages to expose deep troubled feelings as the victim clown, so... Kudos on him. Kevin Smith shaved the iconic beard and he offers a good enough performance as well. Final Verdict: I literally don't find this film that disturbing because i've seen worse believe me, i don't recommend it either but all in all it is what it is...

MEC r (ca) wrote: I didn't like this film.

Erin S (de) wrote: This movie was very good for a made for TV flick. Love the story, love the chemistry. And anytime Rick is cool.

Jrme V (us) wrote: ? la fin des annes 50, Terence Fisher a fait la pluie et le beau temps pour la lgendaire (du moins, dans le c?ur (noir!) des amateurs d??horreur) maison de production britannique Hammer. Il inventait, du mme coup, pour toutes une gnration de ralisateurs venir, le vocabulaire cinmatographique moderne de l??horreur : effet gore (Curse of Frankenstein est le premier film d??horreur vritablement gore), ct particulirement sduisant du mal, mais aussi, et c??est probablement le ct le moins connu de son ?uvre, une psychologie assez bien campe des personnages. On doit ce metteur en scne l??efficacit redoutable (efficace, plus qu??artistique? ce dernier terme s??appliquant plus son remplaant immdiat Freddie Francis) les meilleurs films de la Hammer. Et, avant de le visionner, je n??aurais jamais cru qu??il pouvait galer, voire surpasser, des films tels que Curse of Frankenstein ou Horror of Dracula. Mais en 1969, aprs plusieurs annes d??absence dans le monde de l??horreur, il fait un retour plus que triomphant en reprenant le contrle de la franchise du clbre savant fou. En fait, dans Frankenstein must be destroyed, le mal rgne en matre suprme et on ne pouvait souhaiter meilleur acteur que Peter Cushing, toujours superbe et inquitant en Baron Victor Frankenstein, pour porter sur ses paules un rle aussi machiavlique que celui qu??il joue ici. L??ouverture du film (les scnes d??ouverture sont toujours un point fort chez Hammer, mais ici, ils se sont surpasss!) est une scne d??anthologie : un voleur s??introduit par effraction dans un laboratoire install dans une maison abandonne. Alors qu??il fouille, il entend les pas de ce qui pourrait bien tre le propritaire des lieux. Commence alors une scne de combat entre les deux protagonistes, l??un un vritable monstre? qui, une fois le combat termin, enlve son masque pour rvler le visage du sinistre baron. Symbolique puissante pour le restant du film o Frankenstein manipule avec un soin mticuleux son entourage pour des fins plus que morbides. Fischer transforme la matire du scnario (excellent dans toutes ses circonvolutions) en un suspense exaltant o s??entremle tragdie (mais jamais dans le kitch) et horreur, trop souvent humaine (une scne particulirement vicieuse de viol, qui avait l??poque fait grand bruit, en tmoigne). Chaque acteurs prsents s??acquittent superbement bien de sa tche dans ce ballet o le fan d??horreur le plus blas sera pris par surprise ici et l jusqu?? l??infernale (littralement) finale. Pour bien saisir la mesure du talent de Fischer, il est intressant de noter, en visionnant ce film, que l??on vient autant s??inquiter du sort de Frankenstein (en quelque sorte le savant et le monstre dans cet ingnieux film) que de celui de ses pauvres victimes (tonnamment combattives ici). Si Peter Cushing porte le film presque entier sur ses paules (avec son professionnalisme habituel), il faut tout de mme mentionner le travail de Freddy Elephant Man Jones dans le rle tragique et quelque peu morbide de la crature . Ce petit bijou de film d??horreur est dfinitivement classer parmi les meilleurs de la Hammer et montre que, plus d??une dizaine d??annes aprs avoir perc le march de l??horreur, le studio britannique livrait encore la marchandise. Superbe.

Tom M (es) wrote: Totally decent fun. Most of it is situational comedy, so the characters don't really connect enough to make it anything memorable, but its unlikely you'll watch this and not enjoy yourself. Comedy Cary is the best, and its a pleasure to watch him shed an image that he rode for an entire career. How this screenplay ever won awards is totally beyond my capacity to understand, but as light fare perfectly suited for sick days or a happy afternoon this is easily recommendable.

Hayden L (gb) wrote: One of the duo's least funny film. There is just to many things that get in the way of the two stars, but still the duo 's routines never get old, and their acting as usual is great.

Andrew M (au) wrote: Rio is a great animated movie. The plot of the movie is entertaining and brilliant. This movie has some laughs and is great. I would suggest this movie.

Mark M (us) wrote: Set in a town that is suddenly beset by a surge of missing animals and mysterious hoof tracks left by a creature moving across town on its hind legs, the slow-paced indie Dark Was the Night is an otherwise rather sophomore directorial effort by Jack Heller; one that is equally weighed down by Tyler Hisel's screenplay, but benefits from being an atmospheric, character-driven horror film that is fronted by Kevin Durand.Dark Was the Night comes off as a character drama first - the horror, secondary -, and there is an idea, a discernible vision behind the film, one that is rooted in environmentalism, Native American folklore, and atonement; ingredients that Hisel's script has in abundance, but lacks in polish. Simply put, the film doesn't know what it wants to be, or at the very least, doesn't know how to balance what it intends to be.As a character drama, the film follows genre conventions and clichs too closely - the lead has to overcome himself before being able to save others -, and as a horror movie, it's overshadowed by the focus on the characters, most of which beyond Durand's Paul Shields (and Lukas Haas' Donny Saunders) are without depth. The balance might be in turmoil, but the film's two personalities, if gauged separately rather than if it meshes cohesively, is impeccable in presentation, particularly the 6' 6" tall, physically imposing Durand's dramatic performance as a shattered man carrying the character drama portion of the film almost single-handedly.Heller has the cinematographer of Cold in July (2014), Ryan Samul, training each shot on the characters, creating something that seems made-for-TV, but Samul utilizes starkly different color grading for the film's exterior and interior settings, giving a unique fidelity for Dark Was the Night's visuals to go with Heller's choice in keeping the monster hidden for a large part of the film, even if the eventual reveal of the creature - notwithstanding the practical effects hooves-cum-clawed feet - is computer-generated laughable garbage.