Checkpoint Rock: Songs from Palestine

Checkpoint Rock: Songs from Palestine

Come on an incredible journey through Palestine, guided by some of its best-known, most inspiring musicians! From singers Habib Al Deek and Muthana Sha'baan, to rappers DAM and Safaa ...

Come on an incredible journey through Palestine, guided by some of its best-known, most inspiring musicians! From singers Habib Al Deek and Muthana Sha'baan, to rappers DAM and Safaa ... . You can read more in Google, Youtube, Wiki

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Download   Checkpoint Rock: Canciones desde Palestina (2009) VOSEOther2733685.55 MB

Checkpoint Rock: Songs from Palestine torrent reviews

ers (ag) wrote: babas? taraf?ndan yetimhaneye b?rak?lan 11 ya??ndaki hareketli cyril ile onu ?ans eseri gren ve koruyucu anne olarak onu alan kuafr kad?n?n hikayesi vs, gzel film.. cocugun olmazsa olmaz? da tabii ki bisiklet...

Jrmie A (ca) wrote: Best Modern Peplum alongside Gladiator

Brendan B (jp) wrote: Starring Dame Maggie Smith, dear old Ronnie Barker (in his last film before he died), noted English comedian Timothy Spall, and Giancarlo Giannini (looking very much like an Italian Ian Turpey), this gentle, modest, and moving film about grace and redemption is more than just a nice time-passer. Beautiful cinematography and sympathetic performances combine to tell a simple tale in direct, compassionate, and humourous style.

Atul R (nl) wrote: Good plot, nice music. Vivek did great job and Diya looks pretty.

Jonathan V (de) wrote: The great milestone in film making; the finest masterpiece on screen or on stage I have ever seen. Visionary director Franco Zeffirelli dazzles the cinematic world with a unique variety of theatrical elements like none other I have ever seen before: cinematography, music, costumes, casting, directing, lighting and undeniably above all, acting.The performances delivered through Christopher Plummer as Herod Antipas as well as those lords of their profession, Peter Ustinov and Sir Laurence Olivier (Nicodemus) are exemplary to those lesser ones of us entering the industry. But once again, yet paradoxically never-before seen, through Zeffirelli's immaculate casting, a virtual unknown within the list of Hollywood icons does justice to those critically-acclaimed actors and reflects their inadequacy.It is the greatest performance of any actor alive or dead I have ever witnessed and each analytic re-watch raises goosebumps on my skin. We see not the eyes of one Robert Powell but the eyes of the Lord whom within him is revealed through a bursting flow of thought. His unblinking stare leads one to believe that perhaps he was blessed in his playing of the Christ. His extensive research, untold in the gospels, of how Jesus himself might have moved and postured is vividly identified in Powell's unparalleled emotion. He is the definitive theatrical envision of Christ through the many miracles, teachings, death and resurrection. Simply a masterpiece of uniting the theatrical elements in order to produce a final product that is virtually indescribable in brilliance, Mr. Zeffirelli has brought us the bible in stunning visual enlightenment, telling the story of our Savior born through our God on earth.

Lindsay B (kr) wrote: Felt like a noir, which I loved. My first exposure to anything by David Mamet, and I can already pick up on what will be some key themes. Mantegna is pretty awesome as well, he has some really great looks and the dialogue is unmistakable.

Ben H (jp) wrote: One of John Waters' best efforts, attacking pop culture, mainstream cinema, and Hollywood's fixation with making thunder-headed blockbusters. Everyone gets a pop.It can be said that while John Waters is now considered very much a 'mainstream' filmmaker, he is somewhat being contradictory; he is still working outside the Hollywood system and embracing trash cinema. While some of the gags maybe hit-and-miss, Waters still musters and imbues a wonderfully sick energy throughout. He doesn't do subtle satire; he bluntly targets all the bases.

Ian C (au) wrote: Akira Kurosawa's film Yojimbo is transferred to a Texas border down in Walter Hill's remake. Stranger Bruce Willis pits his wits against the local Irish and Italian boot leggers. Some serious over the top shoot outs and Christopher Walken is the balls as Hickey.

Danielle W (it) wrote: it was a good movie. Alot about God

(gb) wrote: All film adaptations of novels present difficulties since they usually present more story than you can tell in 120 minutes. What is the core of the novel? What story best reflects that core? What essentials must stay? What do you have to leave out?The Sound and the Fury is an utterly unadaptable novel, and it's a fool's errand to try. It's hard enough to figure out what the story even is from Faulkner's stream of consciousness. Now try and figure out a story from that thing in Hollywood in the 1950s that will look like a movie and will survive the Hays Office censorship and become a commercial success. Jeez, why try? Do yourself a favor and option a Zane Grey novel.In memory of my old Honors English teacher Miss Lucas, I gave Martin Ritt's The Sound and the Fury a shot. You can approach a film adaptation of a novel one of two ways - how does it serve the source material, and how does it stand on its own? You'd better choose #2 on this one, because I'll tell you right now, this film has as much resemblance to Faulkner's novel as it has to Green Eggs and Ham. Separating this particular novel from its impenetrable style will probably always deprive it of its oxygen; the style IS the substance. Without the dense impossible prose, it's just a story of a messed-up family. If you can't spend time in Benjy's head or Quentin's head or Jason's head, then it's not The Sound and the Fury.So then you're left with yet another movie about the decaying and decadent South, with nattering women and brooding men, all deep in their own shame and lust. The film concentrates on Caddy's daughter Quentin and her struggle of wills with her Uncle Jason (a step-uncle here so the Hays Office will let them kiss). The script knits together a viable narrative, not terribly plausible and impossibly distant from the novel. Jason and Quentin discover newfound respect for each other and live happily ever after? Are you freakin' kidding me???At least you have a couple of first-rate performances here from Joanne Woodward and Ethel Waters as Quentin and Dilsey, respectively. Joanne Woodward was 28 at the time, playing a 16-ish girl. Her talent is jaw-dropping. Just watching her absently walk 15 feet puts you straight into her mindset - bored, angry, curious, aimless, unsure, impatient for what life has waiting for her. Ethel Waters played the standard role just about every middle-aged black woman played back then - housemaid to white people. Her every moment is pain - physical pain, emotional pain, memory pain. Happily, the screenwriters spared her most of the bossy Mammy-type dialogue this role usually gets and gave her dialogue that was short, succinct and cut right to the character's truth. She bore the pain of all the years with this horrible family her every moment on screen.Yul Brynner carries all the appropriate power and anger you'd want from a Jason, but it's sadly impossible to ignore his Russian accent. Did they really think we'd think his accent was Cajun? Sheesh.

Nandan T (au) wrote: A bit overrated, but still worth a watch.