Mom is equally bizarre, refusing to pick up her crying baby in a restaurant because she is busy eating her cake. How can the father be so dense? He doesn't think it's a problem that the kids tied Mom to her bed and got this close to injecting her womb using a syringe? And in the middle of an important conversation about their marriage, the husband decides it's a good time to go fix the TV antenna. Is she a sinner God is trying to punish by sending her two avenging angels in the form of the ultra-Catholic 8-year-old brother-sister team? Is that why they try to suffocate Mom? Is that why they run off with her prosthetic leg, leaving her helpless? The movie wanders aimlessly toward its horror conclusion, taking far too long to get to the doom that all kinds of foreshadowing promises. It's hard to say what point the mostly ridiculous Tin & Tina is trying to make. Despite the signs, Dad still thinks everything is an accident or a mistake. They tie her to her bed, steal her prosthetic leg, and attempt to inject some liquid into her pregnant belly, laughing at the fun of it all. Tin and Tina throw a cloth over Mom's head and try to suffocate her. In short order, they poison the dog and slice it open behind the sofa in the living room, gleefully covering themselves with blood, then crying to their parents as they pretend they're sorry the dog is dead. (Sex before marriage is a no-no.) Once the strange children arrive, the family dog, probably sensing the evil, growls. Lola's sad because she had a bloody miscarriage on her wedding day, an event hinting that the wrath of God will soon be upon the insufficiently God-fearing couple. That's exactly what the Bible-educated 8-year-olds do once Lola (Milena Smit) and Adolfo (Jaime Lorente) adopt them. They play the organ at a Catholic orphanage run by a Mother Superior who looks like she'd do evil in the name of goodness. Morrollon) and sister (Anastasia Russo) orphans. TIN & TINA are twin albino brother (Carlos G.
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