NinadeL

It took me a long time to come to terms with this view of Elizabethan theater, but so be it. The ethereal Gwyneth Paltrow is really lovely here, and one really does at least get some idea that there were other theaters than the Globe and other playwrights than Wilda. And maybe I'll finally get around to reading "Twelfth Night, or What You Will."

A fairy-tale fantasy that fits into the popular 1980s. Unfortunately, I missed out on this one as a kid, so today I can only appreciate the fact that Buttercup has so far become the general on the island of the Amazons in Wonder Woman.

In this episode, Pešek tells a story about himself. Otherwise, it is once again classic chaos of impressions/concepts and memories/forgetfulness. If actresses are often judged by whether they were pretty, actors are often judged by whether they were heroes. And this is really getting tiresome.

After seeing this movie, I find that in retrospect, I could happily include Nancy Drew among my favorite girl protagonists. Nancy Drew is a nice concept of a schoolgirl who is pleasant, slightly old-world, and likes to solve mysteries of all kinds in her spare time. It's a shame that the sequel under Fleming didn't happen. He made some very good teen movies before the year 2000, and Emma Roberts is a fine teenager who wasn't playing any bimbos at the time of Drew. I, therefore, consider this new Nancy Drew a pleasant experience.

The UK's 20th-century politics are so popular that they have demanded countless on-the-fly references in media of all kinds. Of the mass I attended, I can perhaps recommend "The Audience," performed at the National Theater, which also includes the story of Thatcher. However, I understand that Meryl fans will find something to like here.

An Evening with Batman and Robin from 1943 is a tough film by today's standards because the 1940s film series is a phenomenon that isn't talked about contextually that much. We've got the famous silent series, all those Louis Feuillade hits or Pearl White action movies, and then it's like there's nothing after. But here we meet the budding Batman franchise, which had only been out for 4 years at this point. There are two major specifics that complicate the path to knowledge and evaluation. There is also the fact that this was a B production and wartime censorship limited the fictional Batman world as much as it could. It is, therefore, hard to find the identical pleasures in a tale of two secret agents against the minion of Emperor Hirohito that can be found in the pages of Batman comics today. Most of the time it's a formulaic gangster flick with an ordinary sexy secretary named Linda Page, even though the action scenes of the masked hero and his sidekick should be the main attraction. History has dealt with this legacy in its own way. Batman was a funny series until the 1960s and finally in 1989 Tim Burton came along to show the world that it doesn't have to be an unintentional joke.

Many films were made on the theme of Princess Diana's life during her lifetime. I don't remember any of them being good. But so be it, the tabloids needed to be illustrated in some way. This new biopic isn't any better either - it just fits in the storyline of those new trends where it tells, for example, about one week in the life of Monroe. Grace was still relatively stable, but Diana was not. Why waste her name on a romance about a divorced Christian woman and a Pakistani surgeon whose mother didn't give him her blessing?

An excellent subject drowned in the mannerisms of a supposed enfant terrible (another, unfortunately) and Tereza Brdečková. Nevertheless, this can be considered as a film with feeling, which opens up the Toyen theme for the next generation and awaits a serious biography. I regret that this Němec work is practically unavailable and can only be seen very rarely - but then again, it really isn’t all that great.

It is a pleasure to see Julius Ševčík's journey through Czech cinema, and yet it is also worth asking whether three films in the space of a decade are really enough to prove his talent. Very briefly: Masaryk is a necessary film, whether for its genre or the choice of the person it follows. It is skillfully shot, interesting, fits into the color of the Munich stigma, and offers up another shard. Those less familiar with the subject will at least be introduced to the nature of Jan Masaryk's foreign travels and hear Roden speak in foreign languages. For me, it’s a yes.

The 1926 novel "Él" by Spanish author Mercedes Pinto inspired Buñuel to write a rather interesting film essay on the subject of interpersonal relationships. It’s about dependence on a partner, the relationship to one’s environment, the ego, and other usual corners of the human soul. As is traditional with Buñuel, I have a hard time with the transposition of literary models forward in time, and of course, as ever, I don't rest my eyes with pleasure on that 1950s aesthetic, which is simply questionable. However, if I detach myself from the determination of place and time, I can appreciate and even surprisingly recommend this intimate story about a marriage. I'd just be very careful about comparing it to Fassbinder's film Martha; the story is much more comparable to Buñuel's later adaptation of the book "The Woman And The Puppet."