30 years after the explosion at Iri station (Iksan, South Korea) the city has changed its name, rebuilt itself, but the people still carry the scars. Jin-seo is one of them. She is mentally impaired due to the explosion her mother experienced while giving birth to Jin-seo. She lives with her cab-driver brother, Tae-woong. The men in the town takes advantage of Jin-Seo's mental impairment and her mild manner nature. Tragedy soon strikes Jin-seo again...

30 years after the explosion at Iri station (Iksan, South Korea) the city has changed its name, rebuilt itself, but the people still carry the scars. Jin-seo is one of them. She is mentally impaired due to the explosion her mother experienced while giving birth to Jin-seo. She lives with her cab-driver brother, Tae-woong. The men in the town takes advantage of Jin-Seo's mental impairment and her mild manner nature. Tragedy soon strikes Jin-seo again... . You can read more in Google, Youtube, Wiki


Iri torrent reviews

Claudette A (it) wrote: A very good movie with an international twist.

Nicolas K (es) wrote: The handsome doctors from ER and Greys Anatomy get together for a TV film about gay rights for marriage. Need I need to say more?

Luis G (fr) wrote: Clever and inventive. A unique and at times shocking take on the zombie genre.

Sami K (es) wrote: Ihan hyv leffa, jonka voi katsoa pariin kertaan, mutta lopun ikvt juonenknteet ahdistavia.

Agnieska K (kr) wrote: Excellent!!! One of the best movies I have ever seen. I had to watch it twice to understand the whole story and appreciate the variety of themes it contains. And of course unforgettable soundtrack.

Greg W (gb) wrote: gr8! another lost review!

Feru S (au) wrote: Perhaps I'm just so out of sync with everyone else but I just love, love, loved this film ... Penelope Cruz was hot ... it had several funny and beautiful moments ... I found it different from your run-of-the-mill romantic comedies ... plus the soundtrack is to die for. Go figure.

James C (jp) wrote: On paper this looks like a great idea - a film about the pioneer pornographic film-making brothers Jim and Artie Mitchell, starring film-star brothers Charlie Sheen and Emilio Estevez. There might well have been a great film made out of the story, but the finished product simply lacks a governing intelligence with anything dramatically exciting or insightful to say about the story.Estevez directs from a script to which three writers are credited. The piece takes a very formulaic television bio-movie approach to its subject matter. We begin at the end, with Artie threatening to kill Jim, then zap back to their boyhood and then forwards in chronological order through their establishing themselves in the adult movie business, battling for their 5th amendment right to make and exhibit their films, hit big time with the feature Behind the Green Door, stand up to the mob, get over-ambitious in their film-making and fall to pieces through drinks, drugs and broken relationships. Jim manages to pull himself together but Artie goes off the rails, and ironically Jim ends up shooting his errant brother dead.There's an attempt to show that the brothers learned the value of sorting out problems with a gun early on, although this is never linked to the wider gun culture in American (an approach which might have been intriguing). The final scenes are emotionally affecting but too much of the film plods by and left this viewer with a feeling that both the milieu had been better portrayed and the techniques better utilized before. The film lacks the epic feel of a descent into the pit which makes Boogie Nights so powerful; the flashy cutting, integration of music and showy set pieces all feel a bit second-hand - Scorsese, MTV, even Spielberg circa Jaws are referenced but apart from an impressive tracking shot following one of the wives from one brother in the swimming pool to another sniffing coke upstairs, nothing ever flies out of the screen - it remains steadfastly movie-of-the-week stuff.The problem is perhaps ultimately in the subject matter: porn films have such a visceral effect with their meat shots and money shots that unless we are actually going to go there and see those things, it is very difficult to convey the intensity of the environment in a non-porn drama. Boogie Nights managed it through the quality and originality of the writing, acting and film-making; everything in Rated X is perfectly respectable (perhaps that is part of the issue?), but nothing really powerful or astonishing occurs. Nothing more is to be gained from the film than reading the short wikipedia entry on the Mitchell Brothers, and imagining better films like Boogie Nights and The People Vs Larry Flint.

Burton D (ag) wrote: Jet returned to the role that made him famous to only make a weak (for Jet and Sammo) effort. You can at least laugh at the bad fake native americans. There's a handful of good action bits especially at the end but not enough to pump enough juice into the movie.

Gordon S (br) wrote: some good scenes in this one and some plot that seems to struggle to really get together...

Piali M (us) wrote: classic sharukh antihero phase movie - Madhuri looks stunning as usual!

Andrew R (fr) wrote: A taut little suspense mystery that plays like it's on stage. The two leads have a great energy in this distilled take on Dostoevesky's Crime and Punishment. Hitchcock is written all over this with it's macabre details, and playful sinisterness.

Joseph B (ag) wrote: Nazi propaganda minister Joseph Goebbels had declared Jean Renoir's 1937 film "Grand Illusion" to be "Cinematic Public Enemy #1" and ordered all prints to be confiscated and destroyed. Even Renoir's own country banned the film in 1940 for as long as the war should last. Once France fell to Nazi Germany, the Nazis seized the prints and all negatives of the film. The original nitrate film negative was thought to have been destroyed in an Allied air raid and lost but prints of the film were rediscovered in 1958 and rereleased in the early 1960's. Then it was revealed that the original negative was shipped back to Berlin and was stored at the Reichsfilmarchiv. After the war the Reichsfilmarchiv happened to be in the Russian zone where the negative was then sent to Moscow. It would be returned to France in the 1960's, but would remain undiscovered until the 1990's, because many thought it was gone. It was rediscovered while the Cinematheque was transferring their nitrate negatives to the French Film Archives. It was rereleased to theaters in 1999.Renoir was the son of French impressionist painter Pierre Auguste-Renior but was mainly raised by Gabrielle Renard, his nanny and mother's cousin. Renard introduced him to Guignol puppet shows in Montmartre, France, which would influence his film career. Writing in his 1974 memoirs, Renoir said, "She taught me to see the face behind the mask and the fraud behind the flourishes. She taught me to detest the clich." Renard also introduced him to the new invention of motion pictures taking him to see his first film as a young boy. Renoir would often be featured in many of his father's paintings and due to his father's success, he was schooled at fashionable boarding houses.When World War I broke out in August 1914, Renoir joined the French cavalry. He later served as a reconnaissance pilot after receiving a bullet in the leg. He would walk with a limp the rest of his life, but while recovering from his leg injury he was able to discover the world of cinema through the works of Charlie Chaplin and D.W. Griffith while he recuperated. At the suggestion of his father, Renoir started working with ceramics after the war, but soon felt compelled to take a hand at film, being influenced by the films of Erich von Stroheim. In 1924, he would make his first of nine silent films.He gained international success during the 1930's but it wasn't until 1937's "Grand Illusion," that he solidified his stature as a great filmmaker. "Grand Illusion" was not only, arguably, his best film, but was the first foreign film ever to receive an Academy Award nomination for Best Picture of the Year. The idea for the film was influenced by an old friend of Renoir named Pinsard, who was now the commander of an air base near where Renoir was filming the 1935 film "Toni." Pinsard recalled the numerous times he escaped German POW camps during World War I and Renoir believed this would make an interesting film. Renoir had Pinsard write everything down and spoke to more POW's and then added his own wartime experiences. He and Charles Spaak wrote the screenplay together.There are three main French characters that come from different aspects of life, one an aristocrat named Captain de Boeldieu, played by veteran French stage actor Pierre Fresnay; working class Lieutenant Marechal, played by the most popular French screen actor at the time Jean Gabin; and a Jew named Lieutenant Rosenthal played by one of Renoir's favorite actors Marcel Dalio.After de Boeldieu and Marechal are shot down by a German aviator and aristocrat named Rittmeister von Rauffenstein (Erich von Stroheim, most well known for his role as Norma Desmond's butler in Billy Wilder's 1950 film "Sunset Boulevard") while on a reconnaissance mission. They are captured and sent to a prisoner of war camp. Upon arriving they meet their fellow prisoners and Marechal learns of a plan to escape through a tunnel the prisoners have been digging for two months. The escape element of the film has been copied and imitated in such films as "The Great Escape," "Stalag 17" and "The Great Raid." This may be the main goal of these characters, this is hardly what the film is about.This is a "war film" that is so far removed from the trenches, such as when the prisoners attempt to put on a musical revue full with costumes sent from Rosenthal's family in Paris. Leading up to the performance the Germans announce that their army had taken Fort Douamont in what will go down as the bloodiest battle in the war, the Battle of Verdun. The prisoners think they should cancel the performance, but Marechal says that this was all the more reason to put the show on and that they should also invite the German officers. In what is possibly the film's second best scene, it is during the performance that word comes that the French has retaken the fort, prompting Marechal to interrupt the show. An Englishman in drag then leads the prisoners in a singing of the French national anthem "La Marseillaise" as Renoir slowly moves the camera around to show the French and English soldiers singing and the German soldiers reacting to this news. Marechal is then put in solitary confinement and it's ironic that during this time the fort is recaptured by the Germans, as if their celebration was futile and premature. As soon as Marechal is released from solitary confinement the prisoners are told they are being moved to another camp, so the escape is off.At the new camp, Stroheim's character Rauffenstein is reintroduced. He is so stiff and proper like what a Prussian aristocrat in the German army should act. In contrast to Gabin's Marechal he looks regal. His perfect white gloves, monocle and corset all add to his performance. Rauffenstein is happy to see de Boeldieu. He shows his new prisoners around the prison and he and de Boeldieu often lapse into speaking English to one another. Rauffenstein even apologizes to de Boeldieu that he couldn't give him his own room, to which de Boeldieu responds that he never would've accepted. Marechal and Rosenthal continue plotting their escape in their new camp.Some scenes show the prisoners talking about the outside world and suggesting that they conveniently forgotten problems of the outside. That life in the POW camp is a lot better than the trenches. There are so many scenes where soldiers of all nationalities feel a kindred spirit with one another, a brotherhood, so to say. They feel sympathetic towards one another. They all know what each other is going through, even the German officers are sympathetic to their prisoners.There's a scene where the Russians receive a crate they believe is full of vodka and caviar and wish to share it with the French prisoners as gratitude for their kindness. When opening the crate they find that it is full of books on geometry, algebra and cook books. The Russians are so mad that they set fire to the books prompting one Frenchman to get extremely upset and scream that they can't burn books and that it is just wrong. Obviously an attack on what is happening in Nazi Germany at the time, it's very poignant and just one of many powerful scenes.The many officers and soldiers of World War I may be separated by language, culture and nationality, but there is no denying they share the same experiences. This is not a war film, but an anti-war film that celebrates humanity, a humanity that transcends national and racial borders. This is a film that tells the audience that the war to end all wars didn't solve anything, war never solves anything. With World War II on the horizon and the threat of Hitler and the Nazis, Renoir the pacifist dreads what will happen next. As Hitler screams about annexing Czechoslovakia on the radio, Renoir is tenderly speaking out against such aggression using the art of cinema to ask of his audience, "Have we learned nothing?"

Jarkko H (it) wrote: Space Jam (1997) will be continued, a little better film. The plot is completely renovated (fortunately, because if extended for the last part of the way, the film would be a lot worse), and the whole is better. Once again, there are real actors and of course the cartoon characters. Expenditure will slowly begin to go amusing, but the plot is not still not perfect. The film is entertaining The equity in a sense, but how Steve Martin and Timothy Dalton have so strayed.

Barb I (ag) wrote: soooooo kitchy! if you like that kind of stuff, you'll love this. perkins is really the master of creepy creeps. he somehow manages to be subtle and out there at the same time. weld is wonderful, too. who is really the psychopath here? great interactions with the minor characters. very enjoyable.

Khaled H (nl) wrote: tanga talagaa big waste of time