novoten

From fantasies to reality, from patients to doctors, and from uncontrollable laughter to sincere tears. The true gem that I simply had to find. In addition, Perry Cox is the most lively and admirable sitcom character I know.

Some romantic seductions simply cannot be resisted. Fans of the Whedonverse can be hardly surprised by anything, and as a non-reader of the source material, I slowly started to get lost in the finale. However, the convenient dynamics in building tension, the irresistible Kristen, and the perfect trio of scenes (Listening to Debussy, Jumping onto a tree, Playing the piano) decided that occasional subtle criticisms of logic are easily swallowed. Those who are romantically inclined will be in seventh heaven. After the second screening, a solid four-star rating.

When during the zero years some piece of domestic comedy misery didn't succeed and quickly disappeared, a big betrayal could be expected. And The Wedding on the Battlefield was exactly such a betrayal. Nothing happened in it, nothing big or small mattered (the main plot about Polívka wanting the leading role in the local masquerade is embarrassing) and a few embarrassing actors and beautiful unused actresses made a living out of it. The viewer should feel almost guilty at the end for not liking the film, because everything in it is so non-violent, lively, and true at its core. It's not. If it were something embarrassing, trying and not working, I might be more forgiving. But when it really isn't about anything, there's no reason.

Wasted camera and clever stylization, amazing actors and a fantastic song soundtrack are misused for a story full of clichés. I believe that the consequences resulting from a few unfortunate minutes can be incredibly painful, the heaviness of Berlin and the fates were close to me, but the bearable average is destroyed by a crazy ending, where everyone behaves like children one moment and like benevolent beings who suddenly see the truth the next. It probably couldn't have been more contrived.

For someone like me, who has been breathing with Friends for ten years, such a show full of devoted fans is an absolute obligation. But then it becomes a harsh disappointment. I guess I expected something more valuable and surprising than just the statement that "Rachel really grew up during the development of the series." The biggest disappointment is when people talk about the show as their religion for several minutes and then casually conclude that the first few seasons weren't actually that amazing and it really took off around the fifth year. This life-giving and eternal phenomenon deserves much more.

Forget about the villains from Scarface, Carlito's Way, or The Untouchables, who were gangsters, thieves, and smugglers with grace, malice, or just sheer cunning. Here, De Palma presents all the bad guys as swearing puppets who have been waiting in prison for years to finally meet their humiliating (non)finale. And if you used to root for Carlito or Eliot Ness, well, that's the end of that too. The main heroes have shrunk into a sly, pseudo-sophisticated beauty and a photographer who runs around from nowhere to nowhere and lets himself be manipulated without much trouble. So goodbye, classic film noir or crime story, and welcome a deeply boring game for the viewer, which shows that all the clues you tried to follow actually led to no interesting point; it's just the script desperately giving in at its very end.

Symphony for nature, the cycle, saving the planet, and above all, for life in its purest form. And when you feel the desire to become an active advocate for endangered species, believe that you are not alone in that.

Spike as a cool guy with a fear of time, Tara as a confident girl from the start, and Lorne as an inconspicuous heartbreaker. For Whedonverse residents, Chance is something unforgettable. One bizarre character after another in the packaging of disarming and uncompromising black humor - that's Amber Benson as an active creator, and until I see something similarly melancholically personal from her on a larger scale, I won't be at peace.

A deep well cannot quench the thirst of devoted love. Men should fight for these eyes, not make them cry.

Similarly enjoyable adventure as the now classic first installment, from which the television repetition tried to make an annoying "newbie" staple. Even this time, when looking at Zeta, I am dying, when bantering with Alejandro, I can't stop smiling, and Campbell's direction still has a good amount of charm today. It's just a shame that the basic storyline still lags behind; this time, instead of seeking revenge, Zorro fights for fair inclusion in the federation, which turns the thrilling spectacle into unintentionally humorous moments. Still, The Legend is a successful piece from the group of old-fashioned sixties novels, which I appreciate more and more. 70%