NinadeL

The breakthrough moments of the turn of silent and sound film in the Czech Republic are exclusively connected with the guest star Ita Rina from Slovenia. She was very captivating and inspires to this day as Machatý's second muse in Seduction. Regarding the generally lesser-rated aspects of ...and Life Goes On... I would attribute its weakest moments to the dubbing work. From 1933 to 1935 there was only minimal experience with this film technique, which is why the phenomenon of multilingual versions worked then, right? It was simply too soon. Other than that, I'm fine with it. I don't have the slightest problem with the acting, the script, or the varied work of the several creative teams on the interiors and exteriors. In fact, I consider the whole a very successful continuation of the film Such Is Life. Ideally, the two films could be presented together as the most interesting examples of the cosmopolitanism of Czech film at the turn of the 1920s and 1930s.

Regarding this film, we can speculate about the purely positive contribution of the screenwriter Zdeněk Podskalský because it has a good point. The atmosphere and the main theme are slightly reminiscent of Čapek, and the cast has a few bright moments - Pivec is divine, Pešek is traditionally good (in a position so typical for him in the 50s), Hrušínský is a sweetheart... I am very pleased with a number of characters reminiscent of pre-February films - headed by Fiala, Kohout, Kreuzmann, and also Gruss. I love Trégl and Motyčka and, of course, Balek-Brodská - politics also didn't hurt them very much either. The only downright misstep is the caricature of Kemerov, while Bohdalová's lyrical bride was actually a surprise. For her, Safebreakers was the biggest opportunity right after Florenc 13:30. Another positive was the charming color of Wenceslas Square and its surroundings.

An excellent affair. Everything works, and it’s ideally all set in timelessness (it is not important that we have a present)... The characters and their stories are important. I am extremely impressed with all the main performers. I take my hat off to Štěpánek for the first time, I enjoy Ráž, I am amazed again at Smolík, I appreciate Mareš and, strangely enough, I respect Hegerlíková as well. Even Kačírková and Brodský did not disturb the ideal symbiosis with their standards, and I was pleased with Sovák and Struna... My only regret is that the coloring was filled in the extras in equal measure by the ex-stars Mrázek and Ferbasová, as well as the up-and-comers Řehoř and Bohdalová. Marta Fričová, however, won the prize role in the opening using her perfect French.

Valentino's resume in the 18+ category - the most charming part of it is that the sets are better than most TV period pieces. So get ready for a porno novel of the making of Rudy's biggest hits. There's also the tango and the Sheikh's Desert.

The wistful Dana, Fischer's tender music, Höger in a "different" role, the incredibly non-film romance of the expressionless Matyáš and the faded Smejkalová... (who lost her good career forever after her melancholic Klára in 1949). And on top of that, we get the drama at the mine and the regular clashes with the bureaucratic system. It's too bad that the classic Hollywood film Pittsburgh is losing its beauty due to such films.

We're entering a new phase of history here, and you're going to be messing around with ghosts... If it were up to me, I'd uproot it. The idea is not bad and some of the gags are humorous, but otherwise, it's as problematic as the film Who Wants to Kill Jessie? set in the Czechoslovak present next year. In a cinema where there is no serious White Lady-themed film, it is a mistake to follow the opposite end of such duds as The Woman in White is Lost (1937).

In the context of the first film, it §s a notable step up. Jennifer Love Hewitt is finally looking a bit like Liz, but her storyline is all kinds of WTF again, so in the end it's good that her scenes with Breckin Meyer were kept to a minimum. The fact that a recast wasn't done is still sympathetic, which would have been much worse. CGI Garfield is back, there’s a living Odie, and since the yellow ideal itself was quite successful, his story was rather humorously grafted onto Mark Twain's classic "The Prince and the Pauper." This replaced the desperate attempt at a script from the first film. The cast was rounded out by soloist Billy Connolly and a whole menagerie of real animals from the Carlyle estate. This put Garfield: A Tail of Two Kitties in the genre of films like Babe, Cats & Dogs, and Charlotte's Web. It’s definitely better for it to be in that category and it's not such a slap in the face to all comic fans, which unfortunately happened in 2004.

Evil Edna and the weird bunch from the woods during the incredibly sharp 104 minutes of irony will put a slight smile on the faces of fans of English humor and children, who are otherwise so often underestimated by animation creators in general.

On June 26, 1937, Mary married Charles "Buddy" Rogers as her third husband. In 1927 he co-starred in her last silent film, My Best Girl. When they were married, Mary hadn't yet been divorced from Douglas Fairbanks for even two years. After the wedding, Mary asked her new husband who his favorite actress was, and he replied Mrs. Charles "Buddy" Rogers. How simple.

In the latest Barbie film, as has become a tradition in recent years, we once again encounter a combination of several previous adventures. Now it was the turn of Mariposa and the Fairy Princess and Magic of Pegasus 3-D. A Fairy Secret combines the classic series and the Fairytopia-style world and, of course, the main link was the ever-applicable idea that friendship is a journey (remember Barbie as the Princess and the Pauper and Barbie in a Mermaid Tale?). This direct sequel to Barbie A Fashion Fairytale provides more opportunity for Ken to impress, as well as Barbi's new companion Raquelle. They easily set the scene for next time because Barbie is going back to school in the autumn of 2011. There are a few small references reminiscent of Barbie and the Three Musketeers, and some of the details are really funny. The only question that remains is whether the fairy subtext will be preserved. For the profile viewers who are forever growing up, any such plot twist can be refreshing. They work independently of new developments in the industry with the main idea that Barbie will save everyone in the end anyway.