NinadeL

The opening flashback from 1989 was a delight and so were Peg and Pym's acting performances, but the rest of the film was just a targeted rinsing. Unfortunately, only Douglas continued acting and he had no equal partners, so we had to make do with the epic battle with the machine Thomas. But so be it. The MCU continues ever onward.

Given the number of characters and the nature of the plot, there's two hours of action, ten minutes of plot, and ten minutes of credits... plus the final scenes. There wasn't room for a film, although Widow and Hulk aren’t a bad pairing, and with Hawkeye staying at home, it was very promising. The only positives for me are Wanda, Vision, and Peggy's cameo.

The combination of Thomas Hardy (the novels "Jude the Obscure" and "Trishna") and Carey Mulligan (the films Drive and The Great Gatsby) is absolutely magnificent. The novel itself is also something that I'll love to watch in older adaptations and will be melting away for a long time to come.

By the time the boundaries shifted with Friends and Sex and the City, Britcoms were going through the same thing, but through their own lens. Coupling is original in that it really only deals with relationships and only in an ironic way. By definition, the main six characters don't have to deal with careers around the age of thirty; all their senses are focused on sex and pairing, nesting, and planning it all. Body language, reading between the lines, and exploring the logic of the opposite sex on the way to the same goal are all important.

Unfortunately, Vorel or no Vorel, this is just another piece of crap from the family of extremely failed Waking Up Yesterday -style films. The defining factor is once again mainly Mádl, and then one pose next to the other, followed by Kohák sitting in a café. And sadly, this was looking like a second interesting project from the university environment. That’s too bad.

This is a sequel to a film that came out twelve years ago, and this film isn't worth it. The modern story of Romeo and Juliet provides nothing new, perhaps only acting opportunities for the friendly bunch. The seemingly eloquent shots of the forest lack personality and the inconsistency with the first film is most acute when comparing Hanák's etudes, which have no point in the second film. Polívka and Holubová repeat for the hundredth time what they have done many times before, Schmitzer's storyline might have had more to it, but again it didn't reach any point, and this time Bára was essentially pointless. If Anna Linhartová is super fashionable now, we're in for a lot pointlessness.

It's true that at the time of the premiere, I hadn't seen the slightest indication that the Kirstie series even existed. TV Land is not the center of the universe. But in retrospect, it's a pleasant show that slowly brought Kirstie Alley back into the limelight. The last time she had her own show was Veronica's Closet from 1997-2000 on NBC and it was nothing less than a Bright/Kauffman/Crane production. Kirstie is smaller, of course, but anyone who loved Michael Richards in Mad About You, Rhea Perlman in Cheers, Gilles Marini in 2 Broke Girls, or Kristin Chenoweth in anything, will be satisfied. In the second half of Season 1, the series found its feet, the jokes around the theatrical career intensified and the whole thing was a lot of fun.

On the one hand, I understand that the whole concept of Elf makes sense to Vorel. There are his other projects around the theme as well as the ubiquitous motif of the elf, his various incarnations, comments, references to him... But if Elf is also the culmination of all this, I'm not entirely happy that this is where Tomáš Vorel Jr. finally took over the role of court actor - even though it's a comedy of the masses for the masses. With the transfer of the main ideas of his work to his son, Vorel Sr. becomes a spokesman for the younger generation and abandons his own generation in favor of the young to live through their through problems. It's also a major surprise that they also live their lives without having to face totalitarianism or revolution. The problem of the new age is that it’s routine and grey. And when we realize this, do we want to fight this together along with Elf? Vorel cast Marika Procházková and Ivana Chýlková among the new distinct faces.

With Out of the City, the classic era of Tomáš Vorel came to a close. Everything was still in its place - Hanák in the lead role, and the beautiful Bára Nimcová-Schlesinger adorned the film and was as ethereal as Hana Tallerová. The songs were cute, fun, and educational. The frustration with the overly technological world was resolved quite easily, but unfortunately not definitively. But that's the way life is. Around the year 2000, nothing special happened, except perhaps that we dedicated our lives and artworks to the altars of the age of technical reproducibility.

The example of The Stone Bridge is another milestone where I again disagree with Alena Prokopová. For example, in 2014, she was still calling this bitter comedy unwatchable or unrehearsed, so we didn't like it then. Sure, everyone is mostly afraid of watching The Stone Bridge, because they are not interested in sinking into absolute depression and taking stock of their own decisions in the time of a fading epiphany. However, to expect that after his previous films, Vorel would offer us an intimate civil melodrama with subtle autobiographical elements in the picturesque setting of the Charles Bridge would be somewhat naive. The genesis of Vorel's and Dušek's screenplay only reveals the degenerating current of the mid-1990s, brilliantly portrayed on the one hand by Milena Dvorská as the suffering mother and on the other by Jana Synková as a caricature of the divine Věra Chytilová. Disillusionment, crisis, capitalism, and a plunge into the depths of the stone bridge is what this is all about. It's not pleasant, but some of that suitably exposed bosom and punishment of archetypal evil can please the valiant royals in all of us.