NinadeL

This is a great amateur film that has ideas… Well, unfortunately, only one. The rest is just a prime example of the fact that even the technical crew was probably not complete. After all, good actors play dickheads, and the leads are the ones who should be glad for some extras here and there.

Unbeknownst to me, I was thinking the whole time: "They're dealing with the same thing Romy Schneider did years ago!" And I wasn't wrong. However, it doesn't matter, this new The Swimming Pool ideally fulfills all the needs of a summer movie theater visit when it's convenient to catch up on your own sun glare. Besides, it is very nice to see Tilda Swinton now and again.

A very enjoyable and novel range of animated fairy tales, which unfortunately are connected by a not-very-functional acted storyline. But the first story, The Princess Who Didn't Laugh, is very sweet. The Accountant and the Fairy is absolutely charming, especially thanks to Viktor Preiss' performance, the styling is charming and even Lucie Bílá surprises us at the end. The Fisherman Maršíček is appealing mainly with the idea of flat animation in a real environment, and Vincent is there for the children who grow up on modern graphics without a speck of nostalgia. I recommend it.

An uninteresting drama that very blatantly points out the sophistication of ancient sin transplanted to the present day. Allen-esque disappointment all the way. And McGregor's dating the likes of Ashley Madekwe and Hayley Atwell.

Last time, I was quite enthusiastic about Magic in the Moonlight, but Café Society is even better. I haven't experienced this much authentic happiness from interwar Hollywood in a long time. There are plenty of excellent details, winking, and playing with names and projects, as well as the classic relationship analysis. It's not necessary to enjoy a romance that isn't quite tip-top, but if you appreciate art deco and a zillion references to all those names like Gloria Swanson, Barbara Stanwyck, Ginger Rogers, or Jean Harlow, you've come to the right place. The costumes, the sets, and the atmosphere are all top-notch, and only after all this did I realize that the make-up is not period-based, but fortunately, that doesn't ruin the whole (which is an interesting paradox).

This is a film I've been saving for a long time. And it paid off. It is always good to be reminded of the paradoxes of American democracy, which has always been, is, and will always be very hypocritical. And now we can cheer for the series Masters of Sex because statistics are a joy.

A dysfunctional something with a tragic chapter in a Thai prison. And for Renée Zellweger to destroy herself like that? Pure futility. But we all still pretend it's a timeless romcom that will entertain absolutely everyone.

Bridget and I really don't get along. I understand the charm of Helen Fielding's novel, and I understand that the translation didn't quite work... However, I also understand that the combination of Colin Firth and Hugh Grant is utterly irresistible for multiple generations, and I do love several of Renée Zellweger's roles. But for me, the experience is simply the journey to success with Roxie Hart, not this British would-be universal romcom.

The long line of film fairy tales based on Božena Němcová’s works dates back to 1929. As the years passed, tastes, styles, and film narratives changed. Alice Nellis accepted the latest challenge and has created something new. Starring the sassy Martha Issová, the rather gloomy subject has given way to modern gags, and in other roles, we can also meet the uncharacteristically guided Remundová or Bydžovská. Among the princes, the pleasant Lukáš Příkazký and Václav Neužil tend to please. I wasn't sure at first, but when I compare it to the "better" ones by Svěrák or Troška, Nellis clearly wins.

It’s actually not that strange to realize that people with such natures also live among us. However, the problem with this film is as old as Czech cinema itself, because Hřebejk's team was translating another Viewegh book and somehow didn't add any dramatic or dramaturgical framework. He built all of Shameless on Macháček and his walking through absurd situations without any rhyme or reason. The audience kitsch was fulfilled by a trailer full of celebrities, including Karel Gott, and Eva (now Vica) Kerekes’ bust. Babčáková and Liška sealed their positions as obligatory actors and Divíšková and Landovský once again made it loudly known that they are still among us.