NinadeL

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.

There are bits of quality in this. We get the lovely acting etude of Emilia Vášáryová and Milan Lasica. Juraj Herz also has something resembling an idea here. But everything else could be used as an argument for why nothing works in Slovakia. And that's too bad.

It's mainly all about Kňažko's acting orgy, but Papilio is worth a look. Jiří Svoboda found who he was in the 1980s and created a whole series of excellent things, and Papilio is among the best of the whole loose series about balancing the past. Svoboda's cold aesthetics seemed to directly call for depicting emotions like butterflies in glass cases. Of the supporting roles, Kodet's decadent Nazi is worth special mention, a role that only he could really do at this time.

Places is said to provoke viewer speculation about what it was all about. We should appreciate Robert Nebřenský’s complexly drawn character. Yes, that is a possibility. I don't want to argue about all the works of Radim Špaček, but among all the forms of contemporary Czech film, Places is for me the representative of what I miss the most. I, therefore, have no interest in speculation and I already had a problem with Nebřenský's "realistic" acting in Tobruk.

The theme is great. And it is equally great that it has come to fruition. But unfortunately, Slobodanka Radun has bitten off too much and made a film based on two actors without being able to bring them to work together in terms of their acting. I can imagine US 2 as an excellent intimate TV film, but without Plodková and without the unnecessary attempt at the big screen, which simply didn't work. The current civil issues are by their very nature not here to be explained.

Do you think that the topic of Judaism in Music cannot appeal to you? The opposite is true. Zdeněk Jiráský's team found a new way to tell, to address, and to revive human stories decided on by a seemingly banal list. It would be futile to enumerate the individual pros. The only thing worth doing is to applaud the screen.