NinadeL

Edward Scissorhands is the essential meeting of Tim Burton with Danny Elfman, Johnny Depp, Winona Ryder, and Vincent Price. The basic story comes from classic Burtonian settings, combining caricatured American suburbs and the gothic dark world from the monster studios of Universal and Hammer. It is kind, loving, gentle, mysterious, and fairy tale-like. Roughly exactly what the dreams of a little boy could be, who once transformed Frankenstein into Frankenweenie. The pop culture influence of Edward is illustrated, among others, by the existence of a comic book Judge Dredd/Edward Scissorhands parody (Garth Ennis, Dermot Power).

One of those iconic 90s movies by Tim Burton, which I completely missed back in the golden era of VHS tapes and video rental stores. Looking back, it's obviously fun, but it's still just an adaptation of trading cards from the Topps company that never quite stepped out of its shadow. Some ideas and casting choices are indeed genius, but the whole thing drags. The micro stories of Lisa Marie, Danny DeVito, and Sarah Jessica Parker are excellent, but the best of all is the grandma played by the famous Hitchcockian actress Sylvia Sidney.

#15 DCEU. The final film of DC Extended Universe is the Aquaman sequel. The film runs smoothly, following the classic concept of a buddy movie, in which the main enemies from the first film become partners under the influence of circumstances, and together they fight against a new enemy. This is something absolutely ideal for a feel-good audience experience. Jason Momoa and Patrick Wilson have charisma to spare, the underwater world is very attractive to look at, and it's nice to perceive all the architectural ideas and fauna and flora. Something like this is always an interesting challenge for filmmakers, after all, the concept of Atlantis has been tempting for processing since ancient times. It must have been a feast for the eyes in the movie theater. Of course, I would have enjoyed more space for Amber Heard, Nicole Kidman, Temuera Morrison and Dolph Lundgren, but considering how long we waited for the film, the final form is more than decent. The first film was devoted to the duo Aquaman/Mera, the second one is about the duo Aquaman/Orm.

A very weak, generic genre film. A group of young adults are trapped in a spider's web along with the entire residential building due to one single mistake. In the place I watched it, they really tried hard and placed artificial spider webs and spiders, but that's pretty much all that can be remembered positively about it.

The basic premise of the show is still excellent. The Kents live their lives in Smallville and raise their teenage sons. Lois works for the local Smallville Gazette. Bizarro and Lana's sister, Lucy Lane, enter the scene. The cliffhanger from the previous series is developed into the storyline of Natalie Lane Irons and John Henry Irons, characters from an alternate universe who have superhero alter egos as Steel in the comics. Yes, this is directly related to the movie Steel and the episode Heavy Metal from the series Superman: The Animated Series.

An excellent movie, the only flaw of which is that it is not a typical Tim Burton film full of nihilism and attractions. And none of his notorious actors are cast here - Johnny Depp, Helena Bonham Carter, or Eva Green. In the eyes of some, Burton filmed a heretical civilian film against his trademark (although he at least kept Danny Elfman). The masses did not forgive him for this - we can see it in the weak response. But bold viewers who do not like boxes get to see an interesting biography of Margaret Keane (1927-2022) and Walter Keane (1915-2000) and the acting performances of Amy Adams and Christoph Waltz. It is a story of awakened emancipation in art from the late 50s and 60s, making it an incredible spectacle into the world of men, (un)fulfilled ambitions, kitsch, and hypocrisy in modern art. Neither of the spouses won over my heart because both had their flaws, but that also made it more audience-friendly.

A very satisfying continuation. The second series focuses on the relationship between Anne Lister and Ann Walker and, of course, Mariana Lawton reaches her peak, as promised by the posters. Yes, certainly, the realities of the 1830s may not be to everyone's taste, but they are presented very understandably here. After all, even today's viewer understands very well the efforts of relatives to enrich themselves at the expense of the seemingly weakest link. In this case, the planned victim is Ann Walker and when the rumors based on her relationship with Anne Lister fail, her brother-in-law will try to impoverish her on the basis of feeble-mindedness. But there is a beautiful message in the final episode that you can read in its title. You can't sue what's not illegal. No matter what greedy and slanderous people think. Another series would be nice, but even this way it's a good and functional whole.

Rewatching this on the day when the president of the Czech Republic signed the partnership agreement has a deep importance for me. While back then in 1996, the lesbian wedding was still partially the culmination of running jokes, in the following decades, we could see how the real world around us was changing. And maybe also thanks to such gentle polishing of edges as in this series. In the Czech Republic, it will take some time, but the first steps have already been taken. In the field of American sitcoms, a few weeks earlier there was also a gay wedding in Roseanne - December Bride.

One of the many documentaries on the topic of the premature death of Brittany Murphy (1977-2009). It is a drama in the style of true-crime stories, so every banal piece of information is underscored by dramatic music, important and relevant people from her surroundings provide testimony, even the pathologist who performed her autopsy, but there is also room for influencers and testimonies of people who once held a door open for someone. It's a colorful mix. There's a tabloid journalist, and comprehensive testimonies are given by Alex Merkin and Kathy Najimy. The most exciting part of the whole case is the personality of husband Simon Monjack, a manipulator and pathological liar. One of his former partners, Elizabeth Ragsdale, even speaks here, and there were even two undisclosed families. This story of a wasted life is a decent mixture of the toxicity of show business, unhealthy beauty standards, and the classic turning a blind eye to someone else's misfortune.

A weak biopic, whose quality is on par with typical TV Lifetime content. However, Brittany Murphy's story is worth telling, and if this attempt inspires another team, it will only be a good thing. There was once an ambitious girl, and even though she was destined to play ugly ducklings in the nineties, she gradually climbed up alongside colleagues Alicia Silverstone, Kirsten Dunst, Amy Adams, Denise Richards, Angelina Jolie, and Winona Ryder until she ended up in Ashton Kutcher's arms. From a duckling emerged an anorexic swan fulfilling all the stereotypical assumptions of beauty in the new millennium. In private, she was focused on her mother and husband, Simon Monjack. And here it comes: Murphy dies in December 2009, her husband, seven years older, just half a year after her. A true-crime story in the making.