NinadeL

A true café loafer knows that the vampire theme in cinema started long before Murnau and therefore knows that anything is possible. It's only in recent years that we've seen a very different approach to the genre each season. 2012 surprised with Byzantium, which saw the return of king Neil Jordan, who changed the vampire genre with the brilliant Interview with the Vampire back in 1994. Together with Anne Rice, he had vampires reviewed by Bram Stoker and Charles Dickens. 2013 had Only Lovers Left Alive and their undead talk from Elizabethan England, dark glasses, and musical instruments. And as a version reflecting 2014, we have A Girl Walks Home Alone at Night - a gazing protagonist who has posters of Michael Jackson and Madonna and listens to Lionel Richie in her room. So who else is addressing what this girl is wearing and what country she is sucking the blood from her fellow citizens in?

Somewhere between the meltdown and the new wave, nothing happened in Czech cinema at all. There was always an attempt to do something, but that something (even when it was by Krška) was not as fired up as earlier films, but it also offered nothing to keep one occupied on an intellectual level. So it just was. This timelessness, by the way, brought the debut of Vít Olmer, who dazzled for the next twenty years as the Czech James Dean but is now remembered only as an angry director of sci-fi stories from our present.

Unfortunately, Bony a klid 2 is the same dud everyone expected. Unfortunate? The return of the filmmakers and actors is sympathetic, the flashbacks are cleverly used, and oddly enough it even has the same feel as the original film, but as a whole, it just works as one big music video that has nothing to do with the feature film format. But what broke my heart is the fact that Josef Nedorost is no longer sexy - he is just okay now, but his charm is definitely gone. Jeníková, Potměšil, and Skamene are alright, but the craziest thing was the storyline with Simona Chytrová, who should have just stuck to the costumes.

Coco, with the face of Bobuľová and MacLaine, is the most complex story of the famous fashion designer. This two-part film tells the story of a woman who, while she could have stood on her head before both World War I and World War II and been more successful than the CEO of the earth, would be definitively forgotten if she’d failed again in the post-war world. Like her old contemporary Poiret. Ingratitude rules the world, but at the end of a journey in which I have tried all the biopics about Coco, I am glad to be richer by knowing more about this personality. I'd probably never follow someone who's completed the transformation of Roma Schneider from a Berlin-Vienna star to an Italian-French actress, but fortunately, Coco is not and never was just the designer of a single costume in a Visconti film, just as she was never just the name behind a famous perfume. The story of Chanel is the story of the 20th century that I admire so much. At the beginning is emotional chaos in Art Nouveau costumes, followed by the turmoil of war and then a new breath. And in the 1950s there is the final defeat of the New Look phenomenon, which never really suited anyone anyway.

Everything that didn't work for me in Black Narcissus doesn't work here either, but The Red Shoes thankfully boasts some truly excellent ballet passages and acting by Adolf Anton Wilhelm Wohlbrück. This man is the star of many wonderful films. That's why I’m not concerned with an collision, the weird makeup for a color film, and the bland acting by Moira Shearer. I just let Boris Lermontov's ballet company play that perfect dream world over and over again.

Bill Murray is still far and away the best contemporary American actor to go to see at the movies. And if he's seconded by Melissa McCarthy and Chris O'Dowd and the comedic timing is absolutely spot on? Well, it means one thing. I'm going to watch it again.

The 39th Disney Feature Film This is very weak. Dinosaur is not so much a Disney feature as it is a display of new technology. Which is a shame. For this to work as a standalone film, it would have to work better with the opening premise, which is only a shadow of Tarzan.

Too many topics in a small space. Female Circumcision, education, independence, sex before and after circumcision... The highlight is a speech by a local guy with a college degree who has eaten Solomon's shit and because he has a circumcised wife he knows she is happy, but in the west, despite being uncircumcised, women are unsatisfied. So that actually explains it. What does it matter that it takes at least three days for a circumcised woman to heal after sex with her husband?

The main idea of this documentary is a simple and unambiguous message. Female circumcision not only mutilates the body but also the personality of the woman. Before the procedure, the girls were full of life, inquisitive, and very good at helping their tribe, but after the procedure, all life faded from their eyes and they became mere shadows...

Barbie & Her Sisters in A Pony Tale is the ultimate classic. The film is exactly as everyone imagines it: Barbie and the horse with the pink mane. Barbie and her sisters Chelsea and Skipper are in Switzerland this time. It's a pretty cool story and finally, if Barbie can have one aunt in a Paris boutique, why can't another aunt of hers be the owner of a riding school in the Alps? Of course, the traditional props are in place - a cute dog, a feud between riding schools, here and there a pink catchphrase, and a moral and a happy ending are inevitable. So where's the problem? Absolutely nowhere. I don't know about you, but I'm going to wash my hair with marshmallow-scented ponytail shampoo and be happy again.