NinadeL

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.

Okay, I admit I'm suffering. But it has to be taken with a grain of salt. If it weren't for Agatha's 125th birthday, no one would probably have picked up a new adaptation of Partners in Crime. But what do you do when you love a subject matter that's all about the 1920s? And they're going to move it to the New Look period of the 1950s? The characters and their settings are authentically linked to the moods and fashions of post-war London, and moreover, Agatha was still living out her ideal version of her first marriage to Archibald in the early turbulent 1920s through the Beresfords. But as time went on, she became more involved with Poirot and Marple. In the 1930s she completely neglected her darlings and only prepared a new novel for them during the war, only to leave them again in the 1950s and finally return to them again in the 1960s and 1970s. So what has the BBC come up with for us this year? They reworked the stew of her first two novels into the realities of 1952. From a balanced duo, they made it more of a marriage based on the almost maternal care of the dominant Tuppence for the distinctly passive and awkward Tommy. This! It's clear that it suits the actors better this way, but too much is too much. So why the relatively good reviews for Partners in Crime? The energy I’m using to grind my teeth is worth it. It’s acceptable as a spy novel, and as a Sunday theme, but it could have been much better. But I was actually more curious about "N or M?", because no one had tackled this novel so far. Here it works as a follow-up to the 1952 adventure, and the finale makes it seem as if the years of "Partners in Crime" are yet to come. It’s an interesting perspective, but so very different. The double play of agents in disguise as Tommy and Tuppence always worked. But it lacked humor. Anyway, I'm glad to have this summer's event behind me, and I'll obviously be returning to the 1980s series more often, but of course, I appreciate that Tommy and Tuppence have been shown to today's generation. Goodbye, darlings. #BBC

A tar-black noir that Marlene made for Welles for a pittance. The production was very demanding, so it was necessary for everyone who was able to contribute. Marlene went about it in a fancy way - she just transformed her costume from Golden Earrings. The rest was swept away by history, and the almost director's cut didn't see the light of day until 1998.