NinadeL

Cher is one of those few unique personalities who has been shining with her distinctive charm for decades. However, I always saw her more as an actress and I am very happy that the connection between the two most prominent professions of her career is also visible on this stage. What would a retrospective be without The Witches of Eastwick or Mermaids? However, I sometimes shock myself, for example by rooting for the old Sonny and Cher duo. ;)

I haven't seen the film very often since its premiere in the movie theater, but it's clear to me now, after seeing it again, how much of a service it did to the general acceptance of wartime Italy. It's of little use, though. It's still always just the evil and one-sided Germany in the regular movies, but Italy lived with its Duce for an entire 11 years longer... The fates of the elderly English ladies and one American Jewish woman are chosen with grace and deliberation.

It’s wrong that Showtime decided to stand behind London's Belle de Jour. The effort to include her among its own elite did not and in fact could not work. It's so British through and through that it's creepy. The series, lasting about three hours, is gone in a flash, leaving only a recurring aftertaste and discomfort, the same that comes after unpleasant intercity travel. Originally a blogged memoir, it left us with anecdotal episode topics peppered with an absurdly clichéd tale of true love outside the craft. Can Belle live without luxury? Is she sacrificing her career for a normal relationship? After two seasons I had to take a proper break to get through the next few minutes, which in London is called a full series. Once again, it all started to cycle back to ground zero, so I really have no idea what material they would want to weave a theme for the potential film that is slowly being announced. I'm supposed to get by on one good joke an hour? Fortunately, Season 4 did just fine without Bambi (or Bam-Bam, as her customer/boyfriend/husband called her), and thanks to Belle's understudy as Madame and her dalliances with Hollywood, there were a few self-parody sequences that were genuinely sweet. Competing with a dominatrix for a client with the help of the song "Keep Young And Beautiful" or having sex with a film critic who likes sex like Dracula from 1931, that really just called for a western-like conversation in a bar, and even that happened in the end. If they’d get a little more fresh wind in the stale environment of British dramedy, I’d be fine.

Kirsten Dunst's role of a lifetime brings me the same pleasure as her first big triumph in Interview with the Vampire. In addition, the period leading up to the French Revolution is just as magical in my cinematic perception as the 1920s, so I require nothing more for happiness. The director also dared to revolutionize the classical view of the historical role of Antoinette and this is only a good thing. In retrospect, their previous collaboration in The Virgin Suicides has gone up in value, which I didn't really like, but that's okay, as long as the girls found each other. I bow, and I applaud.

A sympathetic little movie about a film scandal that brought me closer to the story of Marion Davies in particular. The role and the setting were perfect for the wonderful Kirsten Dunst. Everyone remembers 1924 as the Thomas Ince scandal. Elinor Glyn, Louella Parsons, Margaret Livingston, and Charlie Chaplin are all where they need to be. Another scandal in the lives of Hearst and Davies from 1940 can be seen in the film RKO 281 (1999).

This was an excellent surprise. It was one of the few films I went in blind to the movie theater and I am still excited about it to this day. Kirsten Dunst is rightly a celebrated actress of her generation. She can do absolutely everything. :)

So many variations in one film on the "immortal" couple of Loren and Mastroianni is simply too much for me. At least I saw the film accompanied by people who didn't believe until the last moment that Sophia as Mara was a prostitute, which was charming.

The story of the young marriage of Renzo e Luciana is bad and, moreover, only clumsily copied from the Weimar film I by Day, You by Night (1932). The story with Romy Schneider Il lavoro, inspired by Guy de Maupassant ("Au bord du lit", 1883) is forever in vain, even though she was dressed by Coco Chanel. The others are not even worth commenting on.

The film features the Swede Ingrid Bergman, Englishmen Claude Rains and Sydney Greenstreet, Germans Conrad Veidt, Peter Lorre and Hans Heinrich von Twardowski, Italian Paul Henreid (playing a Czechoslovakian with a Hungarian name), Madeleine Lebeau and Marcel Dalio from France... and many others under the direction of Hungarian director Manó Kertész Kaminer. What could be a more Hollywood classic? It’s a paper-rustling romance that, due to fate, became something much more. Perhaps it is because of the paradox of the way in which the exiles mixed themselves into the story of exile.

Nicole Kidman and Daniel Craig are certainly not the ideal dream couple, although two attempts were made. Besides, it's a shame to cast Kidman in action movies. But in terms of being average, The Invasion can be tolerated. It's nothing we haven't seen many times before, but why bother despising a relaxing genre? There's going to be another version of this so enough anyway.