NinadeL

In the context of the German Visconti trilogy, this is an interesting piece. The Damned was a mannerist film of low artistic quality, but this one had quite a bit of energy mainly thanks to Mann's book. The climax amounts to the very conciliatory forgiveness of a nation defined by an all-powerful elite.

The Czech Lion award was probably awarded to this film by mistake because otherwise, this award falls purely into the restitution farces category. The films Radim Špaček made in the 1990s indicated at least an attempt at experimentation. The work with filters is imaginative, and so are the games with eye movement. It needs a DVD release.

These French transcriptions of Agatha’s books are pure futility. It's set in the present day, in France, and mixes the 1957 Marple novel "4:50 from Paddington" with dialogue quite helplessly selected from the 1929 short story cycle "Partners in Crime." The result is therefore quite a mixture of things. Prudence utters the same phrases in her retirement as when she was newlywed, which somewhat loses its charm. Unfortunately, the basic point of "Partners in Crime" is also missed when Prudence is manipulated into the role of Marple, who was solitary by nature.

Paradoxically, the first adaptation of the 1968 novel "By the Pricking of My Thumbs" was made by the French in 2005. It's not great - the French Christie film is about something a little different than it should be. But Pascal Thomas got excited about the basic idea of "Partners in Crime," and apparently that was enough for him to fire off two more sequels. What more can I say? The fact that it's set in the present is not great, and only Catherine Frot is interesting as an actor, which isn't much. It can be tolerated but the point is missing. Unfortunately, the treatment of the same novel they came up with for the series the following year with Marple (!) wasn't ideal either. For now, I'm still waiting for the ideal transcription.

The Miss Marple stories have a different target audience than other famous Agatha Christie series, which is why I'm honestly amazed at the effort to include 1968's By the Pricking of My Thumbs, which was the third of the four Tommy & Tuppence stories. Tommy & Tuppence are characters from the early 1920s who accompanied Christie's work until its end in the 1970s. They are amateur detectives, and in book form one of the main pleasures is to parody the famous detectives of the past with them. Tommy & Tuppence are a couple to behold - they are fun, adorable, and love each other like no other. And on the rare occasion that their cases are made into film or television, are they supposed to share their case with Marple? That's definitely not necessary. Something great could have been made of this. Greta Scacchi isn't completely useless, but the reasons why generations have loved Tommy & Tuppence are really only scant here. Fortunately, the new series Partners in Crime (2015) offers a different approach to Tommy & Tuppence.

This Tommy & Tuppence pilot for the follow-up Partners in Crime series is a pleasure. Everything is as it should be. The post-war situation didn't guarantee that our heroes a bed of roses and when they were both starting to really dig deep into their pockets, it turned out that their undeniable talent was detective investigation. And so Tommy Beresford and Tuppence Cowley became real private eyes. They tracked down a complicated espionage case, and Prudence showed her skill in disguises and in changing roles from a shy maid to a damsel in distress. Whoever would have guessed that in the end, it must be the kiss and Tommy's epiphany that Prudence is the right one for him, even as a life partner, would have been right. And now on to the series. I wish I could also screen the first adaptation starring Aldini... I'll have to settle for the prospect of this year's series for now and enjoy this classic in the meantime.

This is the first film to receive the Czech award for the worst film. Or what actually happened? Ivo Trajkov lent himself to the production of a film form that became an absolutely typical genre offshoot of the Czech 1990s. The bout of freedom and the division of Czechoslovakia must have looked exactly like this Canary Connection on live TV. Michal Penk, a composer and almost an actor, is the creator of the poster and Jan Saudek and his harem, including Sara, also make their acting debuts. Each name is a separate story of how each one of them handled their careers in the turbulent year 1993. Quite in the spirit of the times, the Czechs and Slovaks are equally divided here. In a way, it's a delight, but only for advanced consumers of that national treasure called cinema. It's hard to believe that under a different director, the Roden/Chýlková duo (especially Pavlásková) could have done something great, because here they are just pointlessly messing around. Lucie Zedníčková, on the other hand, merely repeated the parodic tone from other films and based her role mainly on the insanely overexposed costumes. And in complete contrast to all this, Miroslav Táborský saved face, whose performance was entirely appropriate to the thankless role of Rudolf Valentin '93. All in all, it's an invaluable museum of a bizarre time from which all future generations will have something to discover, and it's a shame it's not a TV perennial.

Brooke Shields, Daryl Hannah, and Camryn Manheim are great actresses, but they're already in the age 40+ and 50+ categories. So what to we do with them? The only thing we can, and that is to make an enjoyable comedy that makes us feel better. That is exactly what this is.

I struggled quite a bit with the first phase of the MCU, and the first Thor was one of the films that held me back the most. But strangely enough, The Dark World has grown on me, and the second phase of the MCU is becoming more bearable. Perhaps it is because there was nothing overly special to explain and we could get straight to the point. Natalie Portman's charms were also finally taken advantage of and the whole thing was a lot more fun. So if this is the final shape that all those origins and the first team-up had to suffer for, then fine. But it took five years.

A very pleasant surprise. A cursory glance at Ivo Macharáček's filmography would not lead me to expect anything like this. Lo and behold, Intimity is here and it's wonderful. Cleverly polarized short stories from the intimate chapters of several couples intertwine in a tender bar and, most importantly, it fits together, it makes sense and the performances match the individual stylizations. It works, wonderfully.