Two brothers get into a sudden tragic accident and they both fall into a coma at the same time. A year later, the younger brother Dae-jin wakes up believing he is his older brother Ho-jin.

Two brothers, Ho-jin and Dae-jin, were the only family they had. The older brother Ho-jin married Eun-soo, extending their family to three, and they all lived happy, tranquil days together.... . You can read more in Google, Youtube, Wiki


Addicted torrent reviews

Carlos G (jp) wrote: Otra buena pelcula protagonizada por Ricardo Darn

Michael S (fr) wrote: "Littlerock" follows two Japanese siblings, Atsuko and Rintaro; out to experience America fist hand. With San Francisco in their sights, a vehicular breakdown leaves them "stranded" in the sleepy, Southern California town. They soon immerse themselves in a group of seemingly directionless twenty-somethings and Atsuko, unable to speak or understand a word of English, inevitable become the object of affection for a few of her new male acquaintances."Littlerock" is just about as lo-fi as independent cinema gets, but it nails one thing brilliantly; it makes us feel as lost and culturally isolated as Atsuko and her brother... even though we understand the language of their new confidants. This lack of universal communication and it's frustrations is the reason that the filmmakers decided to tell this particularly low-key yarn, and they nail it. But as per usually in films like this, there are some cringe-inducing performances littered throughout from non-professional or first time actors, and extended scenes (of boozing and booze induced babel) that linger almost Malick style! These scenes are intentional and are implemented to further our connection to Atsuko in particular, but they are nevertheless tedious and even hard to sit through on occasion. There is an indulgence here responsible for extending what is a very good short film into a feature length one. The two Japanese leads (Atsuko Okatsuka and Rintaro Sawamoto) however are very solid, as is Cory Zacharia playing a tragic character in love with Atsuko, but unable to express his feelings to her or anyone else for that matter. These three actors are the backbone of the picture, and are the reason to watch it. Zacharia's performance is quite quirky and off-putting until subtle layers are reveled and we realize we know many a people just like him. For a film so ripe with flaws, "Littlerock" has a conclusion of uncommon emotional weight. It's poetic and quite devastating in it's own way and pretty masterful in it's execution. Director Mike Ott conducts a noteworthy experiment here, but even at a mere 84 minutes it wears out it's welcome. There are so many interesting elements, from it's concept to it's remarkable ending, that recommending it comes easy. It would have garnered an even stronger recommendation as the short film it deserves to be.

Kristal C (it) wrote: This was lots of fun. Even though I'd never seen the show, I completely remember that era fondly and I think Whitcomb has captured it perfectly.

Sam F (mx) wrote: This movie was weird, but cool and fun. The secret temple was really interesting. The rest of the movie was really cool too!

Austin M (ca) wrote: Solid, good start to this series. Hoping the rest of them are even better, and a lot scarier.

Brian C (ru) wrote: I really liked the premise of Ozone. But the drug itself lacked any consistency which prevented any real tension to be built up - it just became too unpredictable.First the drug caused people to explode. Then it turned some into zombies. But not everyone...some stayed looking normal until they had sex. Then there was the 'baby'...and what was running the show? A mutant drug thing...not sure how to describe that.So what could have been great, sadly wasn't.

Adam E (kr) wrote: silly fun thats all you can say really. jabs at the stereotypes of asians and loads of bruce lee references theres also some pop culture references in there to. johnny yunes loads of fun with his constantly confused face he reminded me of a asian lee evans with his one liners been truley groan worthy but still ace to hear. the fights are fun but his imagianed fights are better with a chiense dragon breathing blue fire popping up at one point. the statue of liberty ending is silly but this sums this film up to a tee. harmless and cool its in the same veign of the police academy movies with crazy characters popping up every now and again and a road movie style link up. yeah its worth checking out :D

Jack G (it) wrote: (spoiler alert?) I went into The Third Generation, quite frankly, not expecting it to be a black-as-death comedy of errors. I was under the impression, perhaps misinterpreted by a description on a netflix DVD, that Satan's Brew was Fassbinder's only real comedy. But as it turns out The Third Generation is one not merely in its context but in the form; this is one of the Fassbinder films that owes far less to the melodramas one sees throughout his career than to Godard, who was also a big influence (if only, as I've heard, to beat his prolific output). Specifically, in The Third Generation, one can see Fassbinder, in telling this loosely episodic and original story of Berlin terrorists, a challenge to what was already a great challenge with La Chinoise: how to show on film how absurd a terrorist group really is, how it functions when not absolutely clear and concise like a bunch of man/women-children, and how the form of the film, the style, has to go with that. Damn it all if this isn't such a warped movie. I don't even mean that just in its characterizations, though there is some of that, but in the nature of its filming, the contradictions between the content and the style, and the nature of over-lapping sound. Please do pay attention to how sound is used in The Third Generation: it's the kind of relentless assault that, at least in this facet, comes closest to Godard's attack on cinema. There's very rarely a scene where it's just silent, and often the sources go on top and blend into one another, with characters speaking dialog, and then music (either/and/or the very experimental compositions and instrument choices by Peer Raben or incidental), and then usually a television/videos or other dialog or something else entirely. It certainly can contend with Altman as having the most sophisticated sense of sound editing, but it's not just this, or even those perfectly lurid transitions taken from writings on bathroom walls and stalls (again, a twist on Godard's chapter-break-up): Fassbinder's savage satire is about the contradiction of a society that is so alienated that they are literally trapped in their houses most days and nights while scrambling for some kind of plan they wait and plot to enact. Fassbinder's camera- which for this he was his own DoP- does sometimes move fast, like say in the shooting scene at the restaurant (watch the fast pan to his face, not expected but very effective), but a lot of the time it stays still, or moves slowly in on a room, on faces or a situation unfolding, like with the naked woman compulsively stealing money. But there's other scenes where it's just maddening (in the best possible way) to see what he'll shoot, like when the snitch is rambling on and on to the Inspector about "You're his father, You're father is his grandfather" repeatedly as if in a coke-head trance, as the camera does long takes, barely moving on this insane scene happening in front of us. What ultimately separates a radical like Godard and a radical like Fassbinder, however, is perspective. For a short period Godard was actually on the side of the revolutionaries/terrorists in France, however many there were, in the heat of 1968, even if, arguably, La Chinoise worked best as a subtle or unintentional attack on such misguided 20-somethings. Fassbinder, on the other hand, hated these bastards in Berlin, the youth groups who kept starting up stuff to the point where he moved to Paris, and decided to do his own kind of lampooning, if you will. Some parts aren't funny, at all, such as the junkie overdose or the implication of the higher-ups like Eddie Constantine's character actually fronting the terrorists money, or, of course, Gunther Kauffman's own path and moments as a character. Other parts, like the shoot-out in the street with the gang in drag/weird costumes would make any surrealist wet their pants in gleeful, obscene laughter. What makes The Third Generation so invigorating a piece of cinema is its distinctive style, its approach to taking a stance practically politically with its barrage of sound and deliberately methodical camera movements and the rapid-fire cutaways to other things happening in other rooms or buildings or moments. But also the nature of this group-think mentality, of which there's so few really good films let alone possibly great ones. It's a serio-comic experiment in Gonzo movie-making from someone who knows his stuff.

Flike S (de) wrote: I guess you can say this set some standard for the angry, criminal up and comer, and influenced some other high profile directors. Still, the performances, photography and many other technical aspects were very stale. Its all so robotic an very contrived. This is a very dated picture, but when directors such as Bresson and Renoir, to only name a few were making pictures at the same time, with much more depth and clarity, I feel there is really no justification here.

Mckenie S (fr) wrote: Horrible movie. Couldn't even get through all of it. Had great potential. Love Olivia Wild!