I like the storyline of this show,it attract me so much

The film makes a home in your brain and the only cure is to see it again.

This story has more twists and turns than a second-rate soap opera.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Uneven, marginally interesting Kim ki-Duk film. Ultimately, it is about a father coming to terms with his daughter growing up. Her "growing up" is prostituting herself to her dead girlfriend's ex-clients as a way of dealing with the grief. The film is broken up into three distinct chapters and is as tonally different as each third. The center section is the most kinetic and bloody, while the concluding section is the most protracted. The opening section focuses on the friendship between the two girls and is the most cohesive of the three. Unfortunately, ki-Duk is in danger of becoming irrelevant because his films are becoming very conventional in one sense, but very inaccessible in another sense. For exploitation fans, there is some mild female nudity, a couple of very bloody beatings, and a terrific dinner table confrontation.

SAMARITAN GIRL (3 outta 5 stars) Two high school girls finance a holiday trip they want to take by turning to prostitution. Yeo-Jin lures men via internet chat rooms and her cell phone while Jae-Yeong actually has sex with them. All goes well until Jae-Yeong dives out of a three story window to evade the police. Overcome with remorse, Yeo-Jin contacts all their old customers to sleep with them and return their money. In the meantime, Yeo-Jin's father discovers what his daughter is doing when she should be in school and his vengeance against the men despoiling his daughter keeps escalating. A simple story... the plot sounds very sleazy but the emotional subtext elevates the story into a truly heartbreaking drama. The scene where the father confronts one of his daughter's clients in front of his family is extremely powerful. The sad, tender finale is also well portrayed.

Kim Ki Duk makes films that will not make him popular in his home country this time about the problem of high school prostitution, girls that prostitute themselves to get expensive clothes or trips abroad. Here we get the least accomplished of his movies that I have seen. Its still good and the theme is a very important one, but its not perfect as his other movies. With his tempo of production this is not surprising, its not easy to keep the quality at such a high level when you make three movies a year, all important ones.The actors here are not so good as I would expect, especially Jae-Youngs role was played immature. I got the expression she was a bit out of her mind all the time just like Stephen King thought of Jack Nicholson in 'The Shining'. Lee Eol on the other hand fit the father figure quite well and did a decent if not extraordinary job.Story is well developed, but could do better with a little more thought put into the ending. The finale, it seems, comes a bit pressured, its very difficult to end this movie and this was a easy way to do it. That is not to say it was bad at all. Were 'Bom, Yeorum ...' had its focus on buddhism, this is about Christianity. How and what it implies are a bit uncertain, but there are biblical references like the fathers actions are an eye for an eye and then it becomes about guilt. Jae-Young wants to be like the Indian prostitute that turned her clients into buddhists after she had finished with them. What happens to them after her friend the samaritan is finished with them on the other hand is not so sunny.

A film about two teenage girls trying to make money for a trip through prostitution. Nice premise, but it eventually gets lost and turns into a father revenges daughter's lost honor flick. You have to wonder - she was selling herself, what honor did he think he was revenging? Maybe it's a culture thing.In any case, it's well filmed and keeps you watching, avoiding the pretentiousness that ruins many art-house movies. You can watch it without feeling that you have to sniff the cork next time you open a bottle of wine, and that's a plus.There is no real sex or violence shown (a shame) but it's implied and that gets the message across. What's obscure are the motivations, especially towards the end, where the film has been building towards a climax and then seems to just drop it in favor of imagery. Again, maybe it's a culture thing and I just missed the point.So I'm ambivalent about Samaria - on the one hand, I enjoyed watching it. On the other hand, I had to wonder what, exactly, was going on. Maybe that's a good thing.