NinadeL

They say, for example, that Czechs are good at making parodies. That may be so, but that does not apply to editors. It's amazing how much such garbage was produced, especially during the normalization period. Could it be that the consciences of the normalizers were gnawing at them? From the historical point of view, only the technical development of some of the copies remains interesting - for example, Císař looks good again.

De Palma's films are best seen in their original form and on the big screen because otherwise, they lose much of their power. This new Scarface should be seen mainly as the ultimate homage to Howard Hawks, James Cagney, and all the tough guys from the original world of classic Hollywood gangster films. And if we get the added opportunity to feast on Michelle Pfeiffer's bony junkie character, who built her entire career on this film and closed the door on Grease 2, I have nothing to complain about.

A visually captivating costume drama, with great music and an interesting Nicole Kidman. Although the script is odd, to say the least, all the other components, including the silent film, make up for it. I just didn't expect to see Christian Bale here after Little Women.

Romy Schneider's second black and white film of the 1950s. It’s also the only one responding to her pairing from the colorful Sissi trilogy with Karlheinz Böhm. Unfortunately, it suffers from the same flaw as the remake of The Last Laugh, in that it takes place in the present day.

A very valuable contribution to the Sissi phenomenon of the 1950s - the combination of color film samples and civilian shots in a single sepia reminds us of two different worlds that are now both in the past: The idealized Austria of the mid-19th century and the post-war Austria of the mid-20th century.

It’s nice, apt, sympathetic, and funny. It’s too bad that there's only one season, because all the themes haven't been exhausted yet, as well as the characters. I love the parodies of Xena as Velva, the Little Amazons, and Milo's conditioned addiction to the sound of his parents having sex (because otherwise, he won't fall asleep ;)).

The reception to this film is extremely interesting, there are many references to its title in other films and so on... The reception in the Czech Republic was downright negative, but that had very little to do with its quality. From today's perspective, we are left with a very likable early musical romantic comedy that admirers of the period or genre will have no issues appreciating.

The House in Karp Lane is worthy of note for the realization of the joint Berlin-Munich-Prague team, which gave Kurt Hoffman the opportunity to work with Czech actors outside their domestic pigeonholes. Very interesting actors are Deyl Jr., Voska, and Hana Vítová. There is some confusion caused by the fact that, for example, Iva Janžurová dubbed her own dialogue, and Jana Brejchová constantly switches from her hardly believable German to Czech and has a dubber for longer sentences. Worth appreciating is Liška's intense music, which together with Illík's cinematography creates some very interesting expressive moments. On the other hand, the period sets, props, costumes, and make-up completely fail in a classic way. Therefore, while we are dealing with specific events on specific days, it is better not to look around Old Town Square for extras, which is especially excellent when combined with documentary period footage.

Unfortunately, Olga Schoberová and her parody of a foreign career were affected by the sequel to the 8th adaptation of Henry Rider Haggard's 1887 novel "She." Thus, 30 years later, it revived the theme for another 14 years.

This 8th adaptation of Henry Rider Haggard’s 1887 novel "She" sucks, and only the sequel with Olga Schoberová is interesting. It's too bad because I don’t mind Hammer films, but I really do mind Ursula.