NinadeL

This show never really held together and unlike the later tours with Kylie, this one is getting old. The glitzy futuristic look of the early millennium is simply out of style now. The sexy part is not very sexy - it has a lot of Madonna in it and we don't want that with Kylie. Perhaps only the final solo without unnecessary sets and the dance company has a chance to survive.

Aphrodite is a good show. I've never considered Kylie to be in my top 1, but she has an interesting career that can easily be drawn from and can reach ever new generations of listeners. It has pleasant attractions, colorful ideas, a sexy Kylie, and particularly the sound, which can be enjoyed or just perceived as a whole or as a backdrop. I really only respect the single "Confide in Me" and even then I found things I like in the new Kylie.

NinadeL vs South Korea: no, I really don't need idyll crossed with lesbian porn and an emphasis on lower-class emancipation to live. But a festival-goer might argue that it's all very different.

Reality vs the internet. In the movie theater: a continuous volley of laughs, a constant delight at how well it's been transferred to the present day, how wonderful the cameos and blessings of the original team are (I only missed Peter MacNicol). There’s also a geyser of obvious and clever allusions to the current and then-current pop culture (some of the best puzzles are the two Patrick Swayze films). Most importantly - and something which should be applauded by all the suffragettes of the world - the reverse roles work great, including the dumb blonde. On the Internet: "Girly Ghostbusters with Melissa McCarthy? We won't tolerate that." Discerning viewers can decide how they see fit. ;)

Ewers' novel "Alraune" is a natural intersection between the classic tale of the Golem and Mary Shelley's Frankenstein. In Galeen's interpretation, the most dominant aspect of the narrative is the incestuous relationship between Helm's daughter and her creator Wegener, which in and of itself can drive the audience to ecstasy. Every look and movement of Brigitte Helm is something worth living and dying for. Her statuesque profile gives false hopes, her demonic body arouses passion, and her mind can obscure reason.

A tasteful romance set against the backdrop of the Austro-Prussian War of 1866. The opening is a nicely-defined melodrama set in an auditorium during a reprise of Verdi's "The Troubadour." At times as moving as Angelique, at times more dramatic than Dishonored. A lavish experience.

Visconti and I never really got along - his world of actors darlings in authentic backdrops, social commentaries, morality that suffers from many taboo topics, grand gestures and vanity observed as if from the safe distance of the director's chair from the detached intellectual... That's not the world I want to deal with. However, the ideas here on how to tame the stoic Burt Lancaster, the dissolute Helmut Berger, and the eloquent Silvana Mangano are quite attractive to the audience. If it weren't for the chilling irony inserted at times, it would have been impossible to experience it.

A lovely single summertime watch. The chemistry between Skarsgård and Robbie works, with Jackson and Waltz complementing them in their classic acting positions. It was a very good choice to retell not the origin, but the return of Tarzan to Africa. I’m satisfied with it (although I've never really gotten into any Tarzan, including the statuesque Lex Barker). Lambert's best Tarzan to date has a good successor.

Despite the anti-symbiosis that has occurred between the viewer and Samir's film Hany, it is a joy to watch both his and Sadek's film The Noonday Witch. As a mirror of the literal transcription of F. A. Brabec, we finally have a working reinterpretation. In terms of the acting, it’s all about Aňa Geislerová, seconded by the magnificent Daniela Kolářová. The thick summer, decent gore, and a theme so natural to the contrasts between satire and creeping horror. It was a risk that paid off. The Czech environment is very well suited for smart and risky projects.

This is a film that has supposedly become a generational statement. But I must add for myself that it was not communicated to me then or now. The forcibly inserted elements of UFOs, stoners, and the Japanese bring only empty dead ends and once again we are left with the classic "they parted at the beginning and reunited at the end" arc. Where is the added value? I suppose that the young people of that time were not particularly enthusiastic about either the Germans or Maciuchová. So, in summary, the Prague atmosphere and the La Casa blů bar are once again the best things about it for me.