NinadeL

The archaism of this film feels as awkward to me as Youngest of the Hamr's Family. I sincerely hope I never see Seberg's skull again.

The traditional symbiosis of film and theater science is characterized by meticulous set design, a fatal plot, and a great cast, but unfortunately also by the flat development of the drama. If it weren't for the (pre-)war stuffy atmosphere, I'd give it all five stars. Christina Ricci and Cate Blanchett are great, while the men are only good, and that includes Johnny Depp. However, Hana Bělská is truly amazing in her penultimate role. Look how far she’s come since On the Sunny Side.

A routine American romantic comedy working with the most primitive skeleton of its genre. There’s seemingly nothing to surprise or delight us with. However, admirers may be delighted by the literal quotations with an emphasis on a story about two different cultures, while passers-by shouldn’t be offended by anything the film has to offer. There is no shortage of programmatically-drawn characters, including a choleric dad, loyal girlfriends, and from an American perspective, a typically extended Indian family. Given that I have a soft spot for pretty Indian faces and non-aggressive romantic humor, which is not as intrusive as the classics with Hugh Grant, then I can give it a very good review. And if this film makes audiences veer toward Bollywood productions, it has accomplished its mission to perfection. In addition to the main magical duo (there really was very little missing and a finale reaching the ending of the first Crocodile Dundee), the film features an interesting cast including Sara Foster from the new 90210 and Anupam Kher, who is a universal representation of perhaps every Indian-American father from Bend It Like Beckham to Bride and Prejudice.

I love Amy Heckerling’s humor (especially the Look Who's Talking films) and Michelle Pfeiffer, so this is an obvious choice. The film’s got plenty of hyperbole and witty observations. :) Plus, today Michelle's playing Paul's mother-in-law-to-be, which makes it all the funnier.

This is an absolute GUILTY PLEASURE. Every shot is a delight, and every idea and sentence is joy and satisfaction. I cannot believe that the previous versions were better. Michelle Pfeiffer did very well not to take early retirement from acting before the age of 50. After an enjoyable comedy, a musical, and a blockbuster, her role of a lifetime on the cusp of a new age is Lea de Lonval, the lovelorn courtesan, and I'm rooting for her like never before. I also have to watch out for Rupert Friend, who seems to be the new crown prince of historical films.

They have enthusiasm, but like director Crombie, producer Nikov hasn't convinced me that their film has achieved their expectations. Beautiful locations aren’t everything. Moreover, the linguistic inconsistency does not give Midu a good name. The quality of the DVD is only balanced by the existence of a good music video, which is ultimately better than the main film.

The basic assets were good to great. However, the result is an amateurish balancing act between soft porn and a pseudo-probe into the life of a would-be reincarnated Sappho. It’s boring. Add to that shoddy set design, poor editing, the impossibility of use of minimal musical themes, and one soundtrack worse than the other, then it all amounts to a disaster.

This is so hysterical that it's good. Well, not in a serious sense. I’m giving it a better review for the excellent tribute to Bring it On and Kirsten Dunst. The supporting roles also feature the fine self-parodying cameos of AnnaLynne McCord and Adhir Kalyana, who have enjoyed enough dramas enough in Nip/Tuck and now it's time for a change.

A little classic Hollywood drama played out against the backdrop of this cheesy and almost indigestible film. Rising German star Hildegard Knef, appearing as Hildegarde Neff, played a small supporting role here as Countess Liz, who not only swims proficiently but also sculpts. This is actually how she enjoyed her American career. It was her second chance after turning down Selznick, who offered her a job under overly harsh conditions.

It’s a meaningful film, of course, but it’s not a solution and it doesn’t add any imaginary log to the fire. Having missed the 1980s showing on American or Russian TV, my view is more forgiving. I thus see The Day After only as an excursion into significant films that existed in the Czech consciousness before November 1989. Otherwise, I would have to go into a reflection on how naive it is to fight anything through film, let alone television.