Cheese and Jam

Cheese and Jam

A story about a couple from the bottom of the social ladder, about smuggling refugees across borders and other 'suspect' things- it is, first and foremost, an attempt to tell a story about the worst in people, wherever they may be coming from.

A story about a couple from the bottom of the social ladder, about smuggling refugees across borders and other 'suspect' things- it is, first and foremost, an attempt to tell a story about ... . You can read more in Google, Youtube, Wiki

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Cheese and Jam torrent reviews

Jackie M (es) wrote: This movie does a good job showing one perspective of Don't Ask, Don't Tell and how it affects people. These are situations that do happen to people. Dreya's portrayal of a hard charging Marine is spot on. I could imagine her as one of my drill instructors very easily. That's no easy task. It isn't going to be everyone's cup of tea. That said I think if someone has an interest in the military or served they will resonate with these characters. And if someone is gay and in the military they will recognize themselves within this story at some point. They say you can't understand a Marine unless you are one. I think there are just some movies about Marines that the average civilian won't understand. There's so much subtlety in this movie that I'm afraid went right past many negative reviewers. Of course, a person can dislike a movie for many reasons. But consider giving this movie a chance. Treat it like any independent movie and check your expectations at the door. You might be surprised.

marieanne w (nl) wrote: perhaps the strangest movie i've seen in a while. raul is a sociopath obsessed with tony manero (of saturday night fever)--this obsession drives him to do absolutely anything---including murder---to achieve even the smallest, most mundane detail in his plot to achieve the persona he so desperately clings to and desires. as expected, his relationships with friends and lovers is uncomfortable, shallow and strange. cringe-worthy moments abound within this quiet evocation.

David E (gb) wrote: "The Straight Story" is a kind, heartwarming true story about Alvin Straight, who traveled from Iowa to Wisconsin on a lawn mower to see his brother after the latter suffered a stroke. A rather change of genre from his usual films, David Lynch's direction was excellent, captivating, & dramatic, while at the same time the acting was very good (Richard Farnsworth was nominated for the Best Leading Actor Oscar), the scenery & music were beautiful, & the whole story was amazing & caring; makes you appreciate for looking out for your family & make amends if things got out of hand. One of the best films of the 1990s & by David Lynch!

Richa S (ca) wrote: it was more or less a decsent of remember the titanswas good but titans rock all over

Sarah (de) wrote: Full review to come later (maybe)...What did this movie teach me? I am totally justified in loving Hugh Dancy.

Lucy M (de) wrote: From the second "Palindromes" opens, at the funeral of Solandz's "Welcome to the Dollhouse" protagonist Dawn Weiner, the film reaches into your gut, grabs ahold of your intestines, and will not let go. Not even during the end credits, not when the music finally stops playing, not until you've left the theater and are sitting safely in your car. At not one point is there a resting place, a spot to catch your breath and reconcile in some way with the content you've been subjected to. And, dealing with abortion, statutory rape, premature adolescent sex, child molestation and a shallow mother-daughter relationship to name a few, the content anything but digestible. Which is not say that there's anything wrong with that in and of itself. It's that it's agressive, in a relentless way, in an inconclusive way, and perhaps in an unrealistic way that makes the film hard to like? Pin down? Understand? I'm still at a loss. The first third of the film is powerful and almost beautiful. The way Solondz deals with abortion and a teenage girl's developmental desire to have a child, a desire that started when she was a small child and one that garnered her affection and tenderness (approval) from her mother. The gender issues are interesting, touching, and not something I've seen before in a film. But after, roughly, Act II, when Aviva, the main character, decides to run away, the film spirals in a gut wrenching and paralyzing play at complex issues portrayed in a superficial and incredibly uncomfortable way. Aviva becomes a sort of post-modern Alice who's fallen down a rabbit hole of lostness due to her (forced) abortion and possibly the fractured and disconnected relationship she has with her parents. It seems at first glance to be a sort of "coming of age" initiation into sex, rape, and murder, but, sadly, disappointingly, Aviva runs the dangerous risk of never coming of age at all. Perhaps this is true to some sort of contemporary existentialism -- where, in today's world of Amber Alerts, teenage kidnapping, and high statistics of sex-trafficking "in your own backyard", it can feel as if in the 21st Century, there is no more there there. This is certainly true for Aviva, who never changes, is never initiated into epiphany by her misadventures and tremendous grief and confusion, never develops a voice that can speak on her own behalf, other than to tell her mother to invite her former quasi foster mother, who's husband sent a man, the man who statutorily rapes Aviva at a truck stop motel, to kill the doctor who provided Aviva with her abortion - an abortion that left her without a uterus. And what kinds of storytelling is this? "Palindromes" seems to fall into the category of post-modern "art films" that depict explicit exploitation of young females, in a way reminiscent of home-made kiddy porn, follow the girl along an endless trail of abuse and neglect, and never, at one point, does the character object, defend, intuit, voice her feelings, or act on her own behalf. It's a fabulous way of pretending to tell a story from a (abused) person's point of view without giving them a point of view at all. I find this kind of powerlessness in such film circumstances irresponsibly story telling. Solondz subjects the viewer, to what, I'm still not certain. And perhaps "giving" a point of view or "acting on her own behalf" are too much to ask for a child. And let us not forget by the end of the film, that Aviva, despite her cunning and sexual bravado, is still, very much, a child.

Mark D (es) wrote: Awesome!!!!!! A good branch to new mutants. Awesome fighting scenes!

JosLouis G (ag) wrote: Toujours aussi bien, mme aprs une 50aines de fois !

Daniel L (nl) wrote: Great movie, but I wish they showed some of the actual bomb and the wasteland cities that the bombs destroyed.

Richard S (ag) wrote: Andy Griffith and Don Knotts team up in this movie and do a great job.

Maeghan S (it) wrote: entertaining and fairly over the top.

Cory T (jp) wrote: Harlin's first theatrical effort quickly establishes his garish stylistics choices such as a POV tracking shot to the electrical chair. It also adheres to his sound-and-fury-signifying-nothing sensibilities wherein the inmates are besieged by a barrage of loud pyrotechnics without a plausible reason since the ghost's only objective is murdering the newly appointed warden. It's all swiftly paced and tautly photographed, but the midsection is a sluggish going-through-the-motions initiation into penitentiary life such as rivalries, riots and sage advice about having "the face of a lifer". But like the 'Final Destination' movies, it's arduous to be frightened by an incorporeal Grim Reaper firing a gun turret and wrapping razor wires around a sadistic guard. 'Prison' retains Harlin's whizz-bang shepherding, but it's a vapid, spineless revenge story with corridors that imitatively resemble Freddy Krueger's boiler room.

Alexander C (mx) wrote: Could be worth a viewing, would like to see it sometime in the future.

Simon T (fr) wrote: Kubrick's renowned polemic foreshadows his later Dr Strangelove and Full Metal Jacket: how the theatre and costume of war, coupled with the cowardice and madness of generals, will invariably destroy the innocent or principled. It's a short movie - barely ninety minutes - but like so much of Kubrick's output it resonates long after it ends.

Michelle J (ru) wrote: Strange and confusing

Alexander Z (ag) wrote: Thanks to Patton Oswalt, I had to track this down. A footnote of the 70s, it combines the artistic excesses of the era with a hilarious horror premise.