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At first glance, this is a small German film suitable for HBO. At second glance and upon closer study, it’s the best that contemporary Europe could have gotten out of Maria Riva's book. She wrote a controversial book about her mother, which I personally accepted as a modern Bible for the 20th century and film history. The life of Marie Magdalene Dietrich was in many ways symptomatic of all the great upheavals that the past century has offered its elite. However, the film transcript used the dramaturgical abbreviation for the 1975 retrospective narrative for the key period of 1929 to 1945. Logically, with emphasis on the legendary course of the filming of The Blue Angel and Marlene's work during the war. Dietrich's almost endless line of men and lovers is replaced by "only" the trio of husband, director, and one universal fictional lover. Who is a German, naturally. And how could he not be, since her daughter is played in all three forms from the age of 6 to 13 by the Vilsmaier sisters, the daughters of director Joseph Vilsmaier and Dana Vávrová, who exceptionally did not participate in her husband's film. Thus, knowing the nature of the nationality and the family creative team, I have no real objection. The set design is magnificent, although the use of various details is sloppy (for example, the photo from the film Kismet as a promotion for Morocco is not that great), but this is balanced by the perfect soundtrack combined with Marlene’s actual hits, songs sung by Katja Flint, and instrumental work by Harald Kloser and Thomas Wanker. In the end, this is neither the first nor the last film on the subject, and it will be interesting to see if the Americans finally decide to make their own modern version, where The Blue Angel will logically be suppressed and things like Marlene's American citizenship, the filming of westerns, and the concert tour coming out of her Las Vegas debut will be highlighted. In addition to the endless linking of Marlene to Hitler or Piaf, it will be refreshing to finally associate her with Garbo in 2010.

Been There Done That in 13 very evenly-matched episodes. It’s great, but unfortunately not for frequent reruns, given its nature. Long live Andrea Battle. :) It is unfortunate, however, about its bad opening night reception, yet fortunately, over time, the film was able to make up for it. Or this is a classic case of a series that became a hit online, outside the US, and then on DVD.

A solid zombie flick with an excellent Vicky Pratt. If she had been promoted from the rank of a private soldier, there would have been the potential for a third film. It's a real shame that she was right in the middle of the character importance ladder, because in this way she had the opportunity to act out real emotions, but only in a small space. Conversely, if she had just had an ordinary zombie role, there would have been a chance to reflect on her impeccable fitness training (both before and after the poisoning). In this way, it was just a waste of her potential and it was necessary to wait until Brotherhood of Blood to see her in the same genre but given proper space. Comedy Hell should fall into a similar category, but it's not available yet...

The first of eight Lifetime dramas featuring Vicky Pratt, who developed her civilian acting in this film in a variation of the familiar story. Her Callie brilliantly counters Nina played by Tori Spelling, and the artist wins over her husband and wants her baby too...

This was above all an exceptional opportunity for Victoria Pratt's image to change after years in sci-fi series, which succeeded and, as a result, she didn't have to be stuck in one place genre-wise. From another perspective, it’s an interesting TV movie from the "based on a true story" group.

The series, a follow-up to John Woo's film of the same name, provided a particularly great opportunity for Vicky Pratt, making her debut in eight episodes. It features original plots, unusual humor, and the maximum level of irony, meaning that the whole thing is very well digestible even when watching several reruns.

A sympathetic rewrite of Jack London’s book brought together Charlton Heston and Michèle Mercier, for whom this production marked the last work on a film after the intense years since her 1957 debut. She came back in front of the camera a few more times after than, but never for long. Let's see if her current series convinces us of anything. In The Call of the Wild, she followed the code of her film predecessors, who so often found themselves at the turning point of their own careers with their stories in the Wild West.

A new, color, and widescreen adaptation of Arthur Schnitzler's famous play "Liebelei" (1895), which made Magda Schneider famous in the early 1930s and had a major influence on her daughter Romy in the late 1950s. It should have been quite different this time, but it was still just another costume spectacle from the idealized Austro-Hungarian Empire. There is even a scene with Emperor Franz Joseph I. However, Romy's meeting with Alain Delon turned the entire Papas Kino upside down.

The Hungarian novel "Monpti" from 1934 was the starting point, and its adaptation became something that Käutner wanted to make far different from his daddy's cinema. However, the result is not convincing. Romy Schneider and Horst Buchholz were still children in the previous film The Girl and the Legend. Now, they were about to experience an anti-romance in Paris. To move away from the German-Austrian area and gloss over anti-morality in a side story. In any case, Gábor Vaszary, the author of the book, is also the author of the screenplay together with the director, so it is, in fact, an adaptation by the author.

A charming second meeting between the Schneider mother and daughter and Ernst Marischka. After the film The Story of Vickie, the Queen and her young countess turn into a Salzburg girl and her Viennese aunt. Their relationship is more balanced and they both have their little secrets and enjoy their visits. Romy-Stanzi meets her German knight Siegfried-Willy, and Magda-Therese finally has a lucky break with her Joseph-Hofrat when she becomes the court caterer for the imperial banquets. On top of all this, we witness one charming misunderstanding through the masquerade ball. The meeting of the two emperors Franz Joseph I and Wilhelm II then brings this Viennese adventure to an excellent end, accompanied by an extraordinary march. This film is a little-remembered bit of middle ground between The Story of Vickie and the Sissi trilogy, which is a shame because it is really enjoyable. P. S. I also quite fell in love with Gretl Schörg.