You're Not You

You're Not You

A drama centered on a classical pianist who has been diagnosed with ALS and the brash college student who becomes her caregiver.

A life-changing bond develops between a woman with ALS whose marriage is on the rocks and the brash collegian hired to be her assistant as both women find themselves facing down regrets, exploring new territory and expanding their ideas of who they want to be. . You can read more in Google, Youtube, Wiki

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You're Not You torrent reviews

Adam B (es) wrote: A down right terrible film . Some of the fight scenes were ok but everything else was grade F. Avoid at all costs

Greg W (gb) wrote: kingsley n cross r the fuel that makes this film go

Mark W (gb) wrote: a bit hard to take but certainly a good film

Troy S (gb) wrote: anyone who lives in America should know at least a few of the local legends about their homeland, not just those from Mesopotamia and Europe.

Kevin M (it) wrote: Cool action and filmed well.

Casey L (de) wrote: A retired cold war assassin seeks one more Mark before retiring however he is hunted by a younger assassin who idolize him.

Sandra D (it) wrote: I've seen this movie many times when I was younger. Its about this troubled girl whose life takes a drastic change when she finds this pet monkey. She hides the monkey in her room so her parents won't know. When she discovers that this monkey has been trained to be a thief by a gypsy she tries to train the monkey to stop stealing. When the gypsy wants the monkey back, she tries everything to keep the monkey from him. This is a very good family movie.

Marta F (mx) wrote: This has to be the most beautiful and poetic movie title I've ever ran into, as far as I can remember. The movie itself, however, takes me into those wicked and intricate Zulawski dark tunnels that sometimes awaken my curiosity ("Possession"), but other times leave me indifferent (this film).

Shane S (us) wrote: Great soundtrack, but that's it. Maddeningly slow. So boring. The acting is atrocious. Everyone has the same facial expression. Oscar winner my foot...

Blake P (au) wrote: The doomed lovers of 1958's "Elevator to the Gallows" do not find their erotic passion lost in a smoke of underlying deception. Their erotic passion is cloaked in the love Walter Neff dreamed of: quivering, gauzy, potent. But it's obstructed by the presence of an unwanted husband, a husband perhaps too sensitive, too vengeful, to simply divorce. Murder, it seems, is the only way to live happily ever after, even if all roads end in a blazing afterlife. The lovers are Julien (Maurice Ronet) and Florence (Jeanne Moreau), her husband powerful business magnate Simon Carala (Jean Well). She married young, putting comfort ahead of adoration; Julien, incidentally, resides under her husband's employment. They aren't planning to off the man for his money - they figure the publicity, the ruthlessness of her husband would be catastrophic in their relationship. So they come up with a foolproof plan: while Florence waits around in a chic Parisian caf, Julien, pretending to go back up to his office for a few after hour tasks, will instead climb up to Carala's work space, shoot him point blank, and stage it as if it were a suicide. It is the perfect murder, and is, for the most part, carried out with finesse only paralleled by the most experienced of assassins. After the deed is done and the suspicions of his coworkers go untouched, Julien treads back to his convertible as if nothing is off, cool as a cucumber. But just as his foot steps on the gas, he notices that the grapple hook he used to climb into Carala's office remains. Though it's bound to eventually fall and go unnoticed by investigators, Julien's paranoia manages to seep into his common sense - so he decides to barge back into the building at the last moment, figuring that taking a chance poses too many risks. But as he takes the elevator back up to his office, the very worst possible scenario becomes a reality when the security guard shuts off the electricity and leaves our sympathetic killer trapped in the confines of the shaft. Florence waits for what feels like days, wandering around the city while hiding her internal despair, letting rain pour onto her poreless facsimile as she gives numb face to the empty chill of the night. Did the lover she once trusted betray her? "Elevator to the Gallows", the directorial debut of Louis Malle, is a mood piece years ahead of its time, its Miles Davis scored, glacial black-and-white assimilating it into something nearly futuristic in its slippery minimalism. It's film noir at its most downbeat, its most bewitching; the midnight streets of the city are seductively "The Third Man", and the murder is an act of love tattered by true affection rather than the artificial sort of "Double Indemnity". "Elevator to the Gallows" is so elegantly dangerous because it's the kind of film where everything goes wrong; perfection is cheap. It's the alarm of an unexpected deviation that beguiles. The central romance between Julien and Florence diffuses a sort of efficacy only found in the love stories of forgotten classics - their devotion to one another makes the stake riddled surroundings all the more agonizing because we want them to end up together. Their crime is not a part of a double-cross or a scheme; it's an act of despondency fueled by desire. The side-plot, which focuses on the attractive teenage couple (Georges Poujouly, Yori Bertin) that steals Julien's car, commits murder, attempts suicide, and gets him framed, is so gripping only because it so eccentrically reflects the plight of the main anti-heroes. While the latter couple plans everything methodically yet doesn't get away with it, the former acts on haphazard instinct and glides by with ludicrous success. It's an irony Malle sees through with an utmost tragic eye. But "Elevator to the Gallows" is stylish, sophisticated entertainment meant to bridge the gap between thriller style and the heaviness of crime and its side effects. In the end, our eyes are more pleased than our intellectual pangs (it's much more captivating to gaze upon Moreau's masterfully understated performance than consider the reality of it all), but "Elevator to the Gallows" is a noir less 1958 and more timeless - its efficiency has not aged.

Ben R (ru) wrote: This is arguably the greatest ensemble cast in the history of film. So many legends, so many talents, such good acting all in one film! Not to mention, this is my favorite Agatha Christie novel. Murder on the Orient Express is a very entertaining, beautiful film that I enjoyed every minute of.