NinadeL

I'm not a fan of the original series, or in fact any of the variations on the theme with any actor. I still haven't actually seen the modern-day first film, but as a standalone affair, I found this film very good. It’s a light comedy, seemingly familiar with every shot, yet also new and charming at the same time. I was curious about Aishwarya Rai Bachchan and I was not disappointed because it seems that all of her Anglo-Saxon productions are very interesting and worth seeing. She also stands out in this film as a great counterpart to the sympathetic Emily Mortimer. And if you've seen Dhoom 2, you'll enjoy Aishwarya's variation on the same role. ;)

This is the best romantic comedy the porn world has to offer! The self-projection also worked, so I laughed, I was touched, and I became a fan. That's the way it's supposed to be. Also, the word fuck is not serious, let alone immoral. :) A more commercial Smith? Come on... I've loved Traci Lords since Hercules.

A second film with every inch. April is different, and Splinter is different. The soundtrack is worse and the plot is less fatal. But because of this, it's still a solid part of the good old Turtle trilogy. Either way, it didn't erase the first film from my memories and it didn't turn me away from the third film.

The story looped with the change of scenery, so there was no reason to delay and not send the live-action turtles straight to Saban's TV series Ninja Turtles: The Next Mutation. The end.

Donatello was my hero. :) Strangely enough, I like the feature films better than the original series. You just have to put all judgment aside and go back to grade one. ;)

A likable sports comedy from two different worlds. Given that I don’t like Keira Knightley and that I was a bit disappointed with the subsequent Bride and Prejudice, I had a nice feeling from this relaxing film. Jonathan Rhys Meyers was already well on his way to becoming Henry. :) Thanks for the donations, this is a good solution.

This was quite the bombastically-promoted cartoon in its day. It’s no wonder, given the stellar Czech line-up of dubbers and especially singers.

This was the last time Magda and Romy Schneider met in a film and was once again complemented by Josef Meinrad... Unfortunately, this otherwise great trio pays the price for Romy's persistent efforts to break free from the cult of Sissi. And at first glance, what could be better than an extravagant modern story? An orderly artistic family suffers from a lack of money - although the father writes crime fiction (his civilian job is as a postman), the mother writes love songs, the younger daughter paints and the son trains artistic tricks. The protagonist, Nicole, tries her hand at poetry writing at first but is unsuccessful. She then devises a plan to write a completely immoral play to help the family financially. In order to give her play a real edge, Nicole takes inspiration from contemporary bestsellers, writes under a pseudonym, and presents her play to the public as an autobiographical work. The play enjoys unprecedented success on the Wiener Hoftheater stage and appeals to the American Broadway producer... After that, nothing prevents the classic cascade of "I am someone else" scenes (in this case, Nicole plays a lady from the half-world) and the result can be nothing other than true love. How could this have gotten through to the Viennese audience of the time? By the end of the 1950s, bringing the ideal back to the US was no longer a problem, but it turned out that filmmakers had little understanding of the world of the youth of the time. The entire film is highly stylized and even the civilian scenes are full of theatrical kitsch.

A charming solution of two mini-stories that Zdeněk Svěrák wrote based on Josef Burgr's motifs. I wonder if this time Ladislav Smoljak was satisfied with his direction, as he tends to be quite self-critical. Of course, along with the leading members of DJC (especially Petr Brukner, the greatest naive Czech actor, was particularly kind), we find ourselves in the year 1946 - that's certain for anyone who pays attention to such "insignificant" things like props and costumes.

Quentin was able to make anything after the Kill Bill films and get away with it. Including this underdeveloped 1970s retro wannabe as a prelude to an almost full-length Zoë Bell commercial.