NinadeL

The MCU primarily only entertains me in the storyline that deals with the golden age. So there's Cap's first movie and everything Agent Carter - related. I simply have to laugh at Adrianne Palicki's career. It went through DC's Smallville and two Aquaman and Wonder Woman -themed fails and eventually, surprisingly, took root with the competition.

It's a cute parody of Two and a Half Men from the Charlie Sheen era. We have Kandi and Rose, and everything is as it should be. It doesn't demean the original series in any way - on the contrary, this parody is exactly literally where the series was always going. It's just too bad Dylan Ryder didn't have someone more interesting to act alongside. But whatever. Evan Stone is a superman.

When watching this, people will have to decide if the magic of Christmas belongs in the world of He-Man and She-Ra, because Masters of the Universe can be a great fantasy, but the spirit of Christmas really isn't the right thing to fix Skeletor, and especially those useless children in peril... who the hell is asking for them? In the end, the only upside to this movie is that it's a crossover between He-Man and She-Ra, which is fine, but The Secret of the Sword was much better.

The basic message is primitive: violence is bad, yes. Everything else is just filler hanging on a formal pun, which ultimately degenerated into the fact that everyone must have heard something at some point about Monica Bellucci (an absolute goddess at the time) filming a very naturalistic rape scene. But the point of why this was so has been lost in the rumor mill. Such a process is irreversibly odd and the overall project is therefore useless and the uproar around it downright empty. And there was somehow going to be a groundbreaking film told backwards in 2002? Nobody believes that.

At the beginning were the legendary performances of Almodóvar's darlings, Antonio Banderas and Penélope Cruz, who otherwise classically star independently of each other in his films. After that, they were forgotten and the whole thing surprisingly culminated in the warmest comedy based on the song "I'm so excited." I don't have a problem with something like that, especially if it all ends so optimistically, my captain. ;)

Almodóvar's first film, which opened with a scene with Penélope Cruz, and stars Javier Bardem. At the bottom of the passion is the classic Spanish relationship chaos, where everyone acts like a UFO, looks like a UFO, and pretends at festivals that it's all so interesting, new, original, and somehow revelatory. Ok, then. If that's enough to make you happy, go ahead and watch a rerun.

This is classic 1990s comedy. Everyone is in their place, looking and acting exactly as they should. The lead roles are split between Michael J. Fox and Kirk Douglas for good measure and I loved Nancy Travis in the American version of Three Men and a Baby, and if you pay attention, you'll find the lovely Kirsten Dunst among the children. They don't make films like this anymore, and if you like that time period, you'll find it to your liking.

The Crazy Ones is the latest series thus far from TV matador of the past David E. Kelley. In the half-hour comedy episodes written for Robin Williams, everything works like a charm - the cadence of the fantastic dialogue knows no bounds, the wit is fresh, and the themes of the individual ideas of the Lewis, Roberts + Roberts ad agency are catchy. So where is the problem? Both Kelley and Williams are making something as if they were living not after 2010 but before 1990. While that adds a fresh charm to the series, and fans of both will find it fascinating - Sarah Michelle Gellar even inspired this creative pairing to take a completely different acting stance - I can't help but feel that the series also ultimately came to a premature end, namely that it takes place yesterday and tackles yesterday's problems through the lens of yesterday. It's new nostalgia and it's not for everyone.

An absolutely epic adventure from Filmation, the studio that brought us the best in TV animation entertainment at the time. While Adam/He-Man's adventures had reached their climax, it was time to pass the sword of power to his newfound sister Adora. Through the classic path of awakening (as tends to happen in fantasy), Adora had developed sympathy for the oppressed side of good, even though she had been raised in a lie by the doubly evil Transformer Hordak and the sorceress Shadow Weaver, and was able to become She-Ra, Princess of Power. Yes, the animation is a bit thin by today's standards, but the story is good enough to hold your attention even today. The musical motifs have grace, and the regularly recurring melody during the transformations is perfection itself. They both begin with the winged phrase "By the power of Grayskull...!" and He-Man continues "I have the power!" and She-Ra counters "I am She-Ra!" and it rumbles perfectly. I’d like to look around for the entire series because it's too good to pass up. The world of Eternia and Masters of the Universe is an absolute foreshadowing of Hercules and Xena.

The combination of Ira Levin's brain and Sharon Stone's beauty is irresistible to me. Levine isn't just "Rosemary's Baby" and "The Stepford Wives" to me, but also "The Boys from Brazil" and "A Kiss Before Dying." While I understand that if most people remember Sliver as a hit starting on HBO in the dubbed version, half the charm is gone, but come on! We’ve got stalking, hidden cameras and telescopes everywhere you look, open conversations about sex, restaurant conversations like something out of Hungry for You, and sex scenes that even young Joe wouldn’t be ashamed of, and it all works perfectly. We also have Howard Shore's music and my favorite early 1990s feel, and now everything is complete.