NinadeL

I like Springman and the SS the best from Trnka's earlier work because it is a purely topical and highly desirable issue. While the live-action film dealt with the Protectorate, for example, with the help of the comedy Nobody Knows Anything, the animated film rushed in with a beautiful story about an extremely agile collaborator, that it was then simply necessary for the little Czech chimney sweep to become a hero in a mask and punish all the iniquities stemming from dishonesty with the deserved punishment. But unfortunately, after 1945, the trace of the masked hero disappears and the nation suffers again...

Yes, it's a crazy film of its time (the atmosphere could be compared to The Stone Bridge), but at the same time, it's a unique experience. The collage of absurd stories from the wannabe Czech post-revolutionary underworld is in fact nothing more than a tribute to Czech Soda, with the story intertwining with the filming of a new episode of Alles Gute at the end. It wasn't strictly necessary as a film for the movie theater, but as a bonus to the regular reruns of German language lessons, it would have had a completely different reception. Hrzánová is playing her classic self, and so are Klepl, Marek, Holub... Eva Holubová perfectly underlines the variability of her application, given that she plays exactly the same role here as in Vojtěch, Called Orphan.

This is what one of the supposedly greatest debuts is supposed to be. So why not appreciate a loose sequel to the golden sixties when it can be done twenty years after the fact?

It's hard to say how I would have reacted to X-Men Origins: Wolverine when it was a novelty, but today I can appreciate the cross-section of Logan's history, the war montage, and the quiet scenes from Canada. Everything else is unfortunately strange and superfluous.

In Days of Future Past, the prequel world of the X-Men was still being perfected, but this already made for a very decent movie. It elevated the acting, and the script impressed even where the original trilogy failed. So thanks for the donations, especially for the boys from Argentina.

Zdeněk Tyc and other encounters with depression, death, individualism, strong acting performances, and very interesting dialogues. Indeed, the etudes of Špalková and Medvecká often resemble a staged theatrical duet, while Schmitzer just exists through the role, and the ending is truly a full-fledged catharsis. So we could actually find Zdeněk? The paths of his career are indeed winding.

Tyc and the Roma question for the second time. This time we are not watching a strong story with the dual themes of Roma and adoption, as in The Brats, but just the classic "do we still want to help them?" In the following years, many ways out and many ways to somewhere were sought, but the result was still not forthcoming. El Paso is perhaps a little more interesting because next to the solemn single mother and her children there is a rather interesting mix of characters who are not caricatures but rather ordinary people. Logically, we don't have to expect any special depth from Rybová or Prachař, but at least they were equal to Javorský, Matásek, and Bareš.

Tyc and the Roma question for the first time. The story of Tereza Boučková, Pavel Kohout's daughter, has gone beyond authenticity. This time the story was thankfully not influenced by Kohout. It must have been very liberating to come out with a new film after seven years and forget the debacle when he was awarded the Czech prize for the worst film. Moreover, it was based on the then refreshing and new success of Ivan Trojan. Blessed be Tyc, but unfortunately, everything that followed was not the result of redemption, but only of the free passage of time and the demise of an authorial personality that was certainly capable of more. The film The Brats was not yet beyond the comfortable calculus in the style of "make something catchy about the Roma and the awards will roll in," but it was a start.

In the case of this film, The Rogue Cut is absolutely crucial, or if Anna Paquin is not in it, then I’m not interested. The result of this change is a distinctly compact work that will engage and not offend even comic book readers. It almost seemed that this old (by today's standards) franchise was over, but now it has gained a second wind and is boldly competing with The Avengers. Rogue nostalgia and the return of characters like Phoenix made me feel better. Of the new characters, Quicksilver got to everyone, while the one in The Avengers was downright lukewarm (even though he had his sister by his side). Well, I'm going to have to watch it again soon.

I thought they stopped making these remakes, which were mechanically produced right after all the existing copies were destroyed, sometime around 1905. Unless there was commercial interest, like in the rescue dog story. But this is not that case. This is awful. But wait, it's Lindsay Price, who I have a crush on. So I'm gonna turn off the sound and try to survive.