D.Moore

Five great songs, five great videos, one great singer. I can't really even describe it how much I love this recital. The best part, the clip for “Lásko prokletá", comes right at the beginning, but that doesn't matter. “Kázání v kapli Betlémské" or “Blázen a dítě" also have a lot of power. As for the reflections between the songs ("Limitation is unlimited..." etc.), I wonder how much of it are the thoughts of Hana Hegerová and how much of the co-writer of the script, Zdeněk Mahler. Either way, it fits Heger's image (if it is an image at all) of a classy lady perfectly.___P.S. What I'll never understand... I have already rated the DVD selection Solitaire, but I couldn't forgive myself for starring in it separately.

Rather than a bawdy comedy, as the opening credits say, The Don Juans is lascivious, lecherous, lewd... But not so much that it is at least interesting due to that fact. It's just not what it used to be, Mr. Menzel. This film may appeal to the lustful older gentlemen who will be happy for every exposed breast or any other hint of titillation, but I can't think of anyone who would like it except them. And yet Jan Hartl is not bad at all and the opera setting is attractive enough to come up with a meaningful and funny story for them. I almost want to gloat that the film didn't go to the Oscars - I would have liked to see Jiří Menzel throwing sulfur at the envious American critics for a change.

Charmingly retro, that's how I like Woody Allen best. And I must admit, I envy him that dreamy look back at his childhood. I know I shouldn't, but I just can't help it. It made me smile and laugh for eighty-five minutes.

"My begonias! My dog! My child!" - "Your heart." It's an absolute classic. I don't know what to praise first, but the most charming moments of all for me are when the film brings together the distracted main character (who we've become quite used to by this point) with another similarly "afflicted" person and something really, really funny and successfully awful breaks out.

It's not better than the two best Allen films I've seen so far (i.e. Annie Hall and Zelig), but it's still very good. I didn't want to burst out laughing or be particularly moved by Manhattan, whereas the film felt rather very authentic, believable and like (as much as I dislike the phrase, I have to use it again now) real life. And in addition to a number of irresistible dialogues, it contains a beautiful scene in a planetarium and a wonderful declaration of love: "You're like God's answer to Job. He would say: I do a lot of terrible things, but I can still make one of these." I'll give it four and a bit.

"It flushes rapidly? And why is he flushing rapidly? Sure, he has a reason for it, but why does he flush rapidly?" I'm still dying laughing at the bagpipe scene, and in general this crime comedy is still as cute as it used to be. For example, the search and installation of wiretaps in the main character's apartment is perfect - especially the patient agent disassembling the matryoshka is brilliant. Pierre Richard acts (by his standards) very restrained, which is a good thing. And that great music by Cosmo!

It’s obvious that I chose a more than appropriate film for my first encounter with Billy Wilder. A journalistic comedy full of verbal shoot-outs between Matthau's wonderful editor and his favorite hound dog Lemmon, a doctor who has been shot due to the sheriff's crap, who whines that he wants to be transferred to a Viennese hospital or he'll operate on himself, combing every corner of Chicago, hiding an escaped prisoner in a desk... Each scene is better than the last. Not to mention the ending. The Front Page was simply a success. And as for the journalism - there are so many true things in this film that it's not even satire.

The beautiful story is only separated from perfection by a strange linguistic entanglement. The characters speak English with a German accent (except for the mayor's fiery speech, which is all in German), German words "ja", "nein", "und", "Saumensch" and so on are sometimes slipped into their English sentences, there are German signs on all the houses, and yet the books are written in English and so are the people... That's just something you don't have to deal with when you read the book, but you do in the film. But otherwise I have nothing to complain about in The Book Thief. Amazing performances by Sophie Nélisse, Geoffrey Rush and Emily Watson, a number of unforgettable scenes backed by Williams' out-of-this-world music (the snow battle leads the way), perfect narration... I'm so glad I watched The Book Thief on the big screen.

A fairly good and relaxing folk comedy. Unlike the legendary works of Zdeněk Troška, however, this film made do without hysterical scenes and various monstrous attempts at humor. It's nothing groundbreaking, but if I compare it to two other efforts by Milan Muchna, the horribly unsuccessful Hop – a je tu lidoop, and the awful Divoké pivo, Únos Moravanky is clearly better. The plot could be faulted for a lot of things (that there is almost none, etc.), and especially the kidnapping, which occurs around the 50th minute, wasn’t very good, but most of what precedes it surprised me with a relaxed atmosphere with charming jokes and catchphrases. I liked Luděk Sobota the most as the Prague man who was hit on the head in the subway by something that fell on him and is now in Moravia healing his nerves. However, Jiří Lábus and Jiří Wimmer were also good. I almost don't know what the film was about, but I know that I didn't anger me and I had fun, and that's enough for me.

An involuntary sex maniac easily and quickly. I have always really liked I'm Losing My Temper. Years later, I now find that the film is a bit longer than it needs to be to have something going on from start to finish, but it's still fun all the same. The scene in the operating theatre is particularly impactful (and Pierre Richard is not in it at all).