NinadeL

A lavish experience. When Knighthood Was in Flower was a huge hit for Cosmopolitan at the time when its films were distributed by Paramount. Starring, of course, Marion Davies as Henry VIII's lovely sister, Mary Tudor. Davies used all the options of an adventure story and played all the interesting positions - the spoiled princess, the angry noblewoman, the queen in love, the pain-ravaged mistress, and finally the brawler from the pub. All this was under the excellent direction of Robert G. Vignola, who was able to splurge on Hearst's money and stage the entire story with expensive sets and great costumes. It was based on Charles Major's 1898 novel of the same name, whose enormous popularity was anchored by Paul Kester's Broadway dramatization three years later. The restored copy now offers several hand-colored scenes that enhance the experience in an unusual way.

An excellent first series with an interesting plot, great twists and turns, and above all solidly written character development in unusual situations. The reunited Kent duo from previous DC/CW series were joined by other sidekicks and everything was set to return to Smallville, just the way fans like it. The world can be saved even from a small town.

Of the planned crossovers that were put on hold by Covid this season, only Arrow's David Ramsey (John Diggle) remained as a guest host. Which is a shame, but still better than canceling the entire post-Arrowverse.

A wonderful film dedicated to the almost tangible magic of the Superman mythos. The story of Clark's departure to Metropolis, his joining the Daily Planet, and his relationship with Lois is beautifully depicted. Nicely step by step.

A relaxed show that's one of the best of the current DC on the CW. It's a nice change to see the Kent family in its complete form. Tyler Hoechlin and Elizabeth Tulloch worked together on Supergirl, Batwoman, Flash, Legends of Tomorrow, and Arrow, and the results were quickly evident.

The second series devoted to The Munsters with the Today acronym. The monstrous family returns after 22 years and all the good stuff remains, but the new stories are told in color. The realities of the 60s alternate with the trends of the 80s, confirming that the need for the romance of Universal's classic monsters is still relevant. Of the new cast, Lee Meriwether as Lily (Catwoman from Batman 66) is probably the most interesting. The original series ran for a total of 70 episodes, and this new one for a total of 73.

Beetlejuice is a beautiful classic ghost story that remains popular thanks to Burton's other great films (and animated series). The old-school special effects are magical, the cast is wonderful: Alec Baldwin and Geena Davis as the dead husbands, Michael Keaton in a perfect mask, Winona Ryder as the ideal goth teenager, and Jeffrey Jones and Catherine O'Hara as caricatures of modern businessmen. And last but certainly not least the legendary Sylvia Sidney, who shone in the 1930s... A joy to behold. In its time, there was genre competition in the form of the similarly successful High Spirits, but there is no need to choose between them. Both ghost stories are evergreens.

From 1964 to 1966, CBS had its The Munsters family, derived from Universal's classic monsters, while rival ABC had The Addams Family, inspired by Charles Addams cartoons, both at the same time. For viewers, such a situation is always a plus, because both concepts are liked and there is always something interesting to watch.

Martin Šulík's intimate debut on the topic of destructive relationships. While short films were Šulík's surface for finding form, he dared to look for content only in this subtle variation on all those Bitter Moons and other unlikely love triangles. But while Polanski followed his protagonists to their doom, Šulík gives them hope through catharsis. György Cserhalmi and Iva Bittová are particularly excellent.

Both of Alain Robbe-Grillet's Slovak-French films are considered crucial in the era of the search for an independent identity of Slovak cinema. However, even with the hindsight of years, one cannot think that every national cinema should have made a representative of every contemporary genre and thus proved its viability. The random images of Robbe-Grillet are interesting perhaps only because of the participation of Jean-Louis Trintignant, a classic of French cinema. Seemingly familiar stories from the era of the Slovak state are illustrated by shots with Ivan Mistrík, but their veracity disappears whenever one of the foursome of Kocúriková, Turbová, Bréal or Prado appears on the scene. Naive mannerism.