NinadeL

The final double episode of the Xena series, which was also released in a single cut as a standalone film. As a Xena purist, I still haven’t accepted it and I still consider When Fates Collide to be the final episode, with Alti and the alternate plot resolution of Xena and Caesar conquering the entire known world at the time, to be the real finale. The positive rating I gave to the standalone A Friend in Need takes into account that it works well as a standalone film.

A documentary about the colorful but uncertain lives of Wonder Woman stunt woman Jeannie Epper and Xena’s Zoë Bell. It was great to visit the legendary Vicky Pratt, who is both good at physical activity and acting. Claire Stansfield, however, only left her mark in a cut scene from Xena Con 2001.

Although this is not a very bombastic production, there are a lot of facts that make me willing to go all out. In terms of the film itself, the music here is excellent, and the soundtrack is very listenable even without the visual perception. The set design is very decent and Til Schweiger is perfect. And of course, the most important Czech actress and producer whose fame resonated throughout Europe, Anny Ondra, is remembered here. True, Peta Wilson wasn't really up to the task of playing her, and it's unforgivable that she's taller than Til. ;) But on the other hand, Jenn Sky was not available, and when her role had to be narrowed down to that of a wife, Peta gave it her best. In the areas wherein people had no idea that Max had a partner, the situation in terms of information improved a lot, and that is important. Now it is time to bring Anny out of the shadow of the battle for everything - the battle between Germany and America. The damage done by the first sloppy Max and Joe movie, Ring of Passion with Britt Ekland, was partially repaired. Let's see if the third film, Max Schmeling - Fist of the Reich with Susanne Wuest, goes any further.

At first glance, this is a small German film suitable for HBO. At second glance and upon closer study, it’s the best that contemporary Europe could have gotten out of Maria Riva's book. She wrote a controversial book about her mother, which I personally accepted as a modern Bible for the 20th century and film history. The life of Marie Magdalene Dietrich was in many ways symptomatic of all the great upheavals that the past century has offered its elite. However, the film transcript used the dramaturgical abbreviation for the 1975 retrospective narrative for the key period of 1929 to 1945. Logically, with emphasis on the legendary course of the filming of The Blue Angel and Marlene's work during the war. Dietrich's almost endless line of men and lovers is replaced by "only" the trio of husband, director, and one universal fictional lover. Who is a German, naturally. And how could he not be, since her daughter is played in all three forms from the age of 6 to 13 by the Vilsmaier sisters, the daughters of director Joseph Vilsmaier and Dana Vávrová, who exceptionally did not participate in her husband's film. Thus, knowing the nature of the nationality and the family creative team, I have no real objection. The set design is magnificent, although the use of various details is sloppy (for example, the photo from the film Kismet as a promotion for Morocco is not that great), but this is balanced by the perfect soundtrack combined with Marlene’s actual hits, songs sung by Katja Flint, and instrumental work by Harald Kloser and Thomas Wanker. In the end, this is neither the first nor the last film on the subject, and it will be interesting to see if the Americans finally decide to make their own modern version, where The Blue Angel will logically be suppressed and things like Marlene's American citizenship, the filming of westerns, and the concert tour coming out of her Las Vegas debut will be highlighted. In addition to the endless linking of Marlene to Hitler or Piaf, it will be refreshing to finally associate her with Garbo in 2010.

Been There Done That in 13 very evenly-matched episodes. It’s great, but unfortunately not for frequent reruns, given its nature. Long live Andrea Battle. :) It is unfortunate, however, about its bad opening night reception, yet fortunately, over time, the film was able to make up for it. Or this is a classic case of a series that became a hit online, outside the US, and then on DVD.

A solid zombie flick with an excellent Vicky Pratt. If she had been promoted from the rank of a private soldier, there would have been the potential for a third film. It's a real shame that she was right in the middle of the character importance ladder, because in this way she had the opportunity to act out real emotions, but only in a small space. Conversely, if she had just had an ordinary zombie role, there would have been a chance to reflect on her impeccable fitness training (both before and after the poisoning). In this way, it was just a waste of her potential and it was necessary to wait until Brotherhood of Blood to see her in the same genre but given proper space. Comedy Hell should fall into a similar category, but it's not available yet...

The first of eight Lifetime dramas featuring Vicky Pratt, who developed her civilian acting in this film in a variation of the familiar story. Her Callie brilliantly counters Nina played by Tori Spelling, and the artist wins over her husband and wants her baby too...

This was above all an exceptional opportunity for Victoria Pratt's image to change after years in sci-fi series, which succeeded and, as a result, she didn't have to be stuck in one place genre-wise. From another perspective, it’s an interesting TV movie from the "based on a true story" group.

The series, a follow-up to John Woo's film of the same name, provided a particularly great opportunity for Vicky Pratt, making her debut in eight episodes. It features original plots, unusual humor, and the maximum level of irony, meaning that the whole thing is very well digestible even when watching several reruns.

A sympathetic rewrite of Jack London’s book brought together Charlton Heston and Michèle Mercier, for whom this production marked the last work on a film after the intense years since her 1957 debut. She came back in front of the camera a few more times after than, but never for long. Let's see if her current series convinces us of anything. In The Call of the Wild, she followed the code of her film predecessors, who so often found themselves at the turning point of their own careers with their stories in the Wild West.