Yu-jin is very excited at the news of her sister's returning home. Her sister, Seung-jin, is supposed to come with her husband, Jin-ho. However, Jin-ho tells Yu-jin that Seung-jin committed suicide. Jin-ho seduces the upset Yu-jin, and Yu-jin's husband suspects that Yu-jin and Jin-ho have an affair. But Yu-jin cannot believe that her sister is dead. Yu-jin meets a man who has the same email ID ad her sister.
Yu-jin hears that her twin sister Seung-jin will be coming to town from the US. In the end only her brother-in-law arrives bearing horrible news of her sister's suicide. When her ... . You can read more in Google, Youtube, Wiki
Vanishing Twin torrent reviews
(jp) wrote: Director, David Fincher (Se7en, Panic Room), brings us an amazing adaptation of the novel by, Gillian Flynn. He also does a riveting depiction of the screenplay, also written by, Gillian Flynn. Ben Affleck and Rosamund Pike are fantastic and go over and beyond, in the acting realm in this movie. A+ for this movie, Awesome!!!!
(jp) wrote: Beautifully and more importantly imaginatively done, The Lego Movie weaves a message about the importance of creativity and has lots of fun doing it.
(gb) wrote: Very good film with a very thought provoking twist at the end.
(br) wrote: Lenta , muy lenta, pelicula que va sobre una historia de amor desarrollada en un pueblo tailandes que se recupera del maremoto del 26/12/04. El paisaje es encantador y colabora con la melancolia que Assarat usa en el guion pero la pelicula se diluye a la medida que pasan los minutos, pierde fuerza y termina aburriendo y convirtiendose en un dramononon romantico. Interesante por la fotografia, los paisajes, por la percepcion post maremoto, por la cultura tailandesa.
(gb) wrote: Difficult to watch and hard to digest; nonetheless, a provoking piece of cinema with a disturbing vision of postcolonial Africa and an expected outstanding performance by the divine and incredibly photogenic Isabelle Huppert.
(ru) wrote: A highly underrated horror/suspense flick; doesn't have the greatest ending but it's well worth the watch. The idea of how humans treat with a having another humans life in their hands is brought out in all it's dark, comical and frustratingly brutal ridiculousness in this film, two thumbs up...
(fr) wrote: Visually distinct, and completely unlike anything produced by Studio Ghibli, I often forget this film is part of the Ghibli canon, in part because of the simplistic, almost coloring-book artwork, as well as the borderline-Americanized plot and storyline. This is the last thing I would have expected from master filmmaker and longtime Ghibli veteran, Isao Takahata, who brought us the emotionally-enraged masterpieces "Only Yesterday" and "Grave of the Fireflies" in classic anime style. This film is NOT bad. At times it is quite humorous, and even comes close to sad in many instances. However, I had a hard time deciphering who the target audience is. One minute, Yamadas feels like a children's film with its family antics; other times, it feels like something targeted for the fathers of families, with much time dedicated to broodings and feelings of the family dad.
(es) wrote: Stiller's directing is mesmerizing, but other than Stiller himself the characters are pretty unlikable.
(de) wrote: Could be worth a viewing, would like to see it sometime in the future.
(kr) wrote: Watch out for those green eyes! An entertaining and often over-looked 80's horror movie. With above average special effects - lots of gore - and a slightly higher-budget production value, there are plenty of cool bits throughout. As a child, I'm sure this would have freaked me out. There are nods to The Shining and the visuals get pretty atmospheric thanks to the supernatural angle. There's also some kinky bits and the actors are relatively strong (the husband has a pretty damn sweet sports car). It's still a "crappy 80's horror film" but comparatively one of the better ones. Long overdue for a proper blu-ray release (I manged to get a decent UK import).
(ca) wrote: "Tender Mercies" is a kind-hearted character study, but it doesn't have much in that vein to study. Everyone in the film, both the ones on screen and the ones who are simply allusions, is a perfect archetype. They are simple figures whose traits are summed up in no more than an adjective or two: an alcoholic country singer, a pious and patient widow, a glitzy but troubled Opry singer. To the film's credit, its shoe fits: the simplicity of the people is matched by a terseness of expression and a plain setting somewhere outside of Austin-not in one of that city's prettier Hill Country environs, either. The dialogue is especially direct in the case of the intensely personal questions that flow ceaselessly from a young boy to his widowed mother and stepfather. It's helpful, and rare for a serious drama which might be expected to strive for nuance and ambiguity, to know exactly what characters are thinking and feeling.The tradeoff is that what the characters think and feel is, to go back to this word, pretty simple. It's almost painfully uncomplicated, like a screenwriter's perception of what common, everyday folks' lives are like, but without being accidentally patronizing. The movie has no elitism, no detachment that could hint at superiority: it is warm and forgiving and non-judgmental to its characters, perhaps to a fault in the case of Robert Duvall's protagonist. The movie passes lightly over his history as a domestic abuser, a fact that might not be so uncomfortable if our knowledge of the women in his life were not so filtered through his eyes. One of the best scenes in the film takes place when he is away from home for a day and a night, and his wife and stepson are left to talk to each other. Most of the time, though, we see what he sees in pretty much the way he sees it. Could our perception of the Opry singer who was his ex-wife be limited to "glitzy but troubled" if we saw her in the long years of her single parenthood rather than in the emotionally-fraught circumstances that are the only intersections between her and Duvall's character? Similarly, his young adult daughter is written in a way that says more about him than her, and her arc seems to exist primarily to give him a reason to comment on his arc. She is the quintessential teen trying to grow up too fast in a manner that is thought to add depth to males but bring females to tragedy, just another example of moralistic fiction trope stretching back centuries.The plotting, then, is unsatisfying, and the characters too. The acting is capable, but it's nothing mold-breaking for Duvall, who nevertheless won an Oscar for it. A generation later, the movie "Crazy Heart" (2009, also featuring Duvall, but in a supporting role) would take the very same subject matter and throw in a few new twists and a couple of big, chewy, Oscary scenes that won its star Jeff Bridges the same award. The music alone is a sufficient reason to watch "Crazy Heart," which did for outlaw and alternative country what "O Brother, Where Art Thou?" (2000) did for American traditional folk. The music in "Tender Mercies" is also worth a listen, especially for fans of classic country in the Nashville and Bakersfield modes. The songs don't quite make it a must-see, but they are highlights of a pleasant enough hour and a half.
(au) wrote: I love this movie! Grew up watching it with my dad and fam. This was his all time favorite movie.
(au) wrote: A fun film from Billy Wilder. Jack Lemmon`s comic timing is spot on.
(ca) wrote: Con todos los clichs de las comedias de los 40's, divertida.
(fr) wrote: Very predictable. The best part was seeing Banderas' bum.
(ca) wrote: good documentary,ther's a lot to learn from thismovie!!!!