NinadeL

These videos are perfection, and I have been watching them regularly for several years. I've actually been living my life to the No Doubt soundtrack since elementary school, so this collection is a clear must for me. The complete clips cover the first decade of their fame, including a naive prologue that they never actually played anywhere - "Trapped in a Box." But even then, in 1992, it was clear that Gwen set the style and the boys were only there to complement her. In 1995 came a revelation called "Tragic Kingdom" and "Just a Girl Gwen" - a platinum blonde in sportswear with an Indian flair, and the combination worked and totally charmed audiences. The final revelation was the iconic ballad about Gwen and Tony's break-up, "Don't Speak." "You and me / We used to be together / Everyday together always / I really feel / That I'm losing my best friend / I can't believe / This could be the end / It looks as though you're letting go / And if it's real / Well I don't want to know..." It was a ride - Gwen was both Pearl White and an Indian temple dancer all in one. With the new album "Return of Saturn" in 2000 came the era of pink Gwen, who dreamed of "Simple Kind of Life" and together with the Pussycat Dolls showed new, and again breathtaking, tricks. The speed of those years was irreversible and the next album, "Rock Steady", was released the following year in 2001. This time it was Bounty Killer thing and looking back we had to trot along in "Running." That was when it was necessary to pause for the first time. But only for a little while. A decade of solo careers passed like the wave of a magic wand and the "Push and Shove" reunion was upon us, reminding us why we fell in love with No Doubt, no doubt.

Movies about boxing and boxers are only good if they deal with Max Schmeling or Rocky Balboa. This is an example of a film that doesn't work in every possible way. It doesn't appeal, and it doesn't impress. I really only appreciated the final song by Eminem and Gwen Stefani.

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.