Alicia I love this movie so much

Steineded How sad is this?

Abbigail Bush what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

nicola-j-peacock OK so I'll start at the beginning. It has promise. Child goes miss so understandably the parents are distraught and will do anything to find him. You expect them to go into the jungle and as the movies states "the terror" that awaits. So naturally you imagine that the couple will be terrorized, hunted and having to fight for their lives. But nope...just two people descending into madness traipsing through the jungle only to fall upon a colony of crazy kids that kill by throwing stones at you and shoving sticks into you. Where were the crazies parents? Why were they all boys? And as for the bonkers mother...well she just ends up surround by the crazies and being a shrine to them. All in all I can only sum it up as weird, pointless STUPID waste of time and don't bother!!!

rooee I got a sneaking sense throughout Fabrice Du Welz's second feature film that much of the "horror" might be of the xenophobic, funny-looking-locals variety, but in the end there's more to the film than that. It's solid in its themes, drenched in atmosphere, and boasts two powerhouse performances.The story concerns a pre-middle-aged couple, played by Rufus Sewell and Emmanuelle Beart, who lost their son in the 2004 mega-tsunami. Jeanne is convinced that Joshua is still alive, in Burma. Paul isn't so sure, but goes along with the idea, out of love for his wife. They soon find themselves being ferried between obliterated coastal villages, funds dwindling, hope dwindling.What ensues is an intense psychological drama, with elements of horror. It becomes clear that Paul and Jeanne have distorted their shared memory of their son. He becomes a corrupting element in their relationship; an object to be possessed, if only one parent can prove that their grief, and thus their love, is greater.Paul and Jeanne, a haunted, mixed-nationality couple, stumbling through an alien culture, never fully emerge from the long shadow of Nicolas Roeg's Don't Look Now, but Vinyan has some ideas of its own. The Lord of the Flies-esque final sequences are particularly memorable and distressing, archetypal in their menace, and throughout Du Welz is imaginative in his manipulation of sound and image to increase our dis-ease.In a sense, this is torture porn for the psyche, rather than the soma. The mental breakdown of both man and wife is protracted and uncomfortable; extreme and occasionally implausible, although never silly. Always, the spectre of grief looms, so it's hard not to feel for the characters - something that many modern horror movies cannot claim.

Pétur Arnórsson Well, I was really looking forward to watch this flick, I am a Die-hard horror fan. But this movie is just boring. No suspense, NO horror. Why is this movie even consider a horror movie! Drama and weird the genre should be. It's like one of thous movies when you can strangle a person with a cordless phone, its just bad decisions and no motivation to stay alive. I really hope this "arty" director picks himself up and make a decent horror movie, if not don't call you're self a horror director, just stopþ On the other hand I would like to give the DP 5 stars for a great camera work. But people stay away, and just watch behind the scenes.I give this movie two thumps up in the back hole.

Jack Hawkins (Hawkensian) 'Vinyan' is a striking yet aimless film that fails to engage. The film charts Paul and Jeanne's search for their missing son after witnessing footage that leads them, Jeanne particularly, to believe that he is alive somewhere in the Burmese wilderness. Their son had gone missing during the 2004 Asian tsunami; however the film doesn't detail any of the event, which doesn't help in making the viewer care at all about the whole premise. Jeanne is somehow adamant that her son is alive, based on brief, bad quality footage. Unfortunately, Jeanne is one of those irrational, hysterical, self-centred women that make films of this ilk rather irritating to watch. She regularly begins to feel sorry for herself, so much so that in one scene the task of walking across a muddy landscape is just too much for her and she starts falling over on purpose to let her husband know just how discontented she is. Jeanne and her silicone injected lips lace the film with irritation. Paul, who is going through this traumatic experience just as much as her, is measured and sensible, but he is still not a character one feels inclined to empathise with at any moment - apart from when his wife is being a pain in the arse, perhaps. I didn't care for their cause at all; the whole thing was a lingering shot of rain, landscapes and tribal children. At times the film was slightly creepy, but that was the extent of its power; considering I watched this film as part of the 'Fright Fest' season, that's quite a major flaw. Not only does this film not work as a horror, it doesn't work on any other level either. Due to its utter vacuity, there isn't much to say apart from that it is Art House nonsense - all visuals, no substance and a bathetic ending.