NinadeL

I think I'll pass on Rick Moody's short story "Mansion of the Hill," because he's not a very translatable author. However, I'm glad I waited to see the film. The story of people brought together by the experience of the death of a loved one is a powerful psychological experience. It's therefore good to be in a frame of mind that allows you to immerse yourself in the story without prejudice. No big city, no attractions, just small acting performances by Michelle Pfeiffer, Ashton Kutcher, and Kathy Bates.

"Murder on the Orient Express" is one of Agatha Christie's most celebrated Poirot stories and was first published in 1934. The Lindbergh baby case is also infamous, and its reach can be illustrated, for example, by the fact that in its time it also caused fear in Marlene Dietrich, who hired two bodyguards for her daughter. The trauma caused by the scandal was almost palpable throughout the 1930s... There have been a number of adaptations, whether in film, television, radio, theater, comics, or video games. So is it a good choice to start a new series? Isn't it a shame to start telling new Poirot cases in this notorious way? So far, Kenneth Branagh seems to have been lucky. Soon he will be back again and will surely solve another famous case - Death on the Nile. So what was the recipe used? Branagh was not afraid to make a classic all-star film for today's audience, where it is important that even the smallest roles are played by respected actors. It is all sufficiently idealized, deliberately playing with reverence and yet suspenseful and, where desired, funny. It is therefore an endeavor that can be enjoyed without hesitation. As an added bonus, we get a new song sung by Michelle Pfeiffer - "Never Forget."

A powerful experience. The Deep End of the Ocean is an adaptation of the novel made famous abroad, among others, by Oprah Winfrey. In this film, we can be swept away by the emotions of the story of a family whose development has been artificially interrupted. The two storylines follow the family before the catastrophe in the late 1980s and a decade later. Carefree parents, full of visions for the future. The loving Michelle Pfeiffer and Treat Williams have three children. From one minute to the next, their family falls apart when their middle son goes missing. We get to watch the years that follow and the healing process that can never completely heal the feeling of emptiness. Helping the family in their predicament is investigator Whoopi Goldberg (and she has to have something special about her - she's not only black, and a detective, but also a lesbian). It is emotionally remarkable.

It's funny how little is said about the Italian film on which Janák based his latest romp. But who watches Italian films these days, right? So you’re telling me that this time the now infamous director is not targeting teens, but a young adult audience? Be that as it may, he has only created a patchwork of ingredients of the latest "successes" of Czech cinema. We have Mirek Donutil and his solo, and he’s a bit arrogant, a bit shrewd, but always egotistical. And since last time, the soundtrack has been taken care of by the proven Dan Bárta. If you don't have young people around you who would appreciate the film, don't even bother with it. Unless you appreciate scenes from a library or a bookstore. In the end, the only original thing about it is the poster.

A classic film by Vejdělek about nothing. Unfortunately, it's this form of filmmaking that audiences like to enjoy, to the point of liking the simplest of jokes. It will probably do ok on TV.

It is a joy to see such a bold adaptation of Vrchlický. This one is only associated with A Night at Karlštejn, which is really too bad. It’s a spiritual experience suitable for recommendation to viewers who like to reflect on what they have seen.

Universum Brdecka has been one big disaster since Alhambra (the novel about her father, partly made up, and partly based on a lie). I had hoped that their joint work had already culminated in the terrible memoir, a book called "Pod tou starou lucernou." Unfortunately, people are still hungry for gossip and family stories, and so Brdečka the filmmaker is disappearing and Brdečková as a professional gossip columnist who has a lot of interesting things in her attic is now standing out more and more. Ugh.

You can never have enough films about the Slovak state, and this one is particularly charming. There will always be a bitter-sweetness associated with the passing of Herz and Labuda and the acting of Menzel. Thank you for the experience.

There are not many films that portray Olomouc so charmingly. And Olomouc is beautiful. I am glad that this work by Krobot is so different from his debut. After all, there's nothing wrong with trying to understand today's thirty-somethings.

An interesting film from the border region. There is something appealing about the idea that the whole region is controlled by a family led by Milka Vášáryová, but the believability of course falls very short. And so The Line remains just an interesting excursion into the nearest Eastern cinema.