NinadeL

It’s not very often that I watch with delight another film that culminates in 1968. But I was lucky enough to see the original unedited version, so the Czech-Slovak-Hungarian linguistic tangle is in a completely authentic form. Milan Lasica and Libuše Šafránková are as charming as they can be at their age, and I have no doubt about Ondřej Vetchý. I really enjoyed it.

Co-production is the way to go. If anything is clear by now, it’s that contemporary Czech film has a track record worthy of superlatives only if it teams up with one of its neighbors. Czech-Slovak films are a given, but Czech-German, Czech-Austrian, and Czech-Polish solutions are also great. Logically, there are many more actors to choose from, the theme does not dream of wallowing in Czech smallness on principle, and formally there is no reason for even one member of the crew to be a beginner. So, yes, Schmitke is a great film and it doesn't just work to promote the beauty of the Ore Mountains, which would probably be the main problem with the final shape if they had just stuck with the Czech-Czech solution. So thanks for an interesting excursion to the Sudetenland because this unique landscape deserves it. I'll be happy to watch it again anytime.

Roma themes have been inherent in Czech cinema since its inception, but in recent years they have become much too common. It will probably never again have the poetry of Černý plamen, My Friend the Gypsy, or Larks on a String. Today we travel to various towns, roaming and looking for the way out. Quite surprisingly, we find that there is no way out. It's in the nature of these people, and even if there is someone among them who really tries, blood is simply stronger than water.

The most famous series based on Agatha Christie is the blessed Poirot. Leaving aside any interest I have in Marple and the contrary affection I have for Tommy and Tuppence, I am satisfied with the more than twenty years of development of the Poirot series. I'm sure the longer stories are more enjoyable - the hour-long episodes got a bit old at the beginning - but overall it's possible to come back to the series regularly and always discover something new and engaging. Ideal times are preserved here just like Miss Lemon's charms. Many pleasant faces have passed through the series throughout the era, including the surprising combination of Joely Richardson, Paris Jefferson, Jaime Murray, Emily Blunt, and John Hannah. I'm really looking forward to the new episodes of Partners in Crime this year, but after all these years I'm sure I'll never forget Poirot. The grey cells of the brain are proof of this.

If it wasn't part of the MCU, I would have missed out on it. The comic book adventures of this thunder god aren't my cup of tea either, so I'm not even disappointed. Yet I'm almost surprised that the acting trio of Natalie Portman, Stellan Skarsgård, and Kat Dennings was weak. Kenneth Branagh also used to be a much more definite safe bet. But I've already started watching it, so I'll survive every episode this one time.

This is one of the many black spots of the 1950s. It is all the more disgusting in that it denounces the pre-Munich republic as an era of absolute evil. And then there are the pathetic verses of Jiří Wolker. However, the reduction of the impact of this manure is still a current issue.

A lovely series in which each episode is composed of three loosely connected mini-stories on the theme of love. It's not pathetic, as it's rather a clever comedy with an interesting cast. The main character is pregnant, but the baby is not hers... So is it an advantage or a disadvantage to date this guy? Jennifer Love Hewitt, Lindsay Price, Krysten Ritter, Michelle Trachtenberg, Frances Conroy, Anna Camp, and Jaime King are all great here. Yes, it all comes together in the end, so end up having a really good feeling from it.

Those first episodes from 1991 and 1992 are such a hallucinogenic ride that I'm not surprised at the cult status of the entire series. After they added more episodes with dialogue in 1995, the weirdness got a little diluted. However, anyone who hasn't seen this won't believe it and has no right to comment on the feature film with Marton Csokas.

The joint debut of Kachyňa and Jasný is not as much of a bombshell as Alas for the One through Whom the Umbrage Comes, but unfortunately, it’s not that far from it. The seemingly fine treatment of the theme of Border Village oscillates between parody and an attempt (in the end) at the Soviet assembly school. The whole thing is a very impressively poor imitation.

Those who used to love The Crucible with Winona can happily continue here. A similarly interesting surprise to Vikings emerging on no-name History TV. This time, it was WGN America for a change, bringing us this delicacy for a great three seasons. Initially an innocent witch theme with a Marilyn Manson song, and later an orgy with Lucy Lawless and Stuart Townsend. And an interpretation of hell that even Mike Mignola would be ashamed of.