NinadeL

Vee has adapted quite well to the habits of her human friends, but she still manages to scare them rather than entertain them.

A magical introduction to a new gently spooky series from Disney Junior. We meet the title character and see her adaptation to her new environment. After all, Transylvania is not the same as Pennsylvania. The second (half) episode is also excellent, with the theme of a haunted hotel in the home of a vampire family.

It’s so authentic in those schizophrenic times that one could bathe in the hypocrisy and petty bourgeoisie. A project like this deserves more attention. Yet the experience is even better after distinguishing fiction from the inspiration of reality. For example, actress Sonja Lundi is of course fictitious, while the cited Liselotte Pulver and Paul Hubschmid are certainly real. The finale is spectacular beyond all doubt.

A period-attractive spectacle of the soon-to-be-loved generation. Kříž, Matásek, Roden, Vetchý, Tofi. Only Vaculík is missing, because Suchařípa never became an idol. Otherwise, it is an interesting, albeit period-appropriate, work by the dramaturgical group Tvůrčí mládí, based on Novotný's novel "Vezmu sekeru".

Král kolonád is an auteur film to the extent that it is no longer worthy of being considered Czech cinema. Zeno Dostál wrote his own novel "Lev" and he developed it into a film theme and later a screenplay, which he directed. What's missing is someone to help the whole project pull itself up to a better level. As sensitive and important as the topic is, Dostál does not distance himself from it. Not in the slightest. The work with the individual actors is weak. Even routine actors such as Brodský or Chýlková just fill up space, while Vašut and Sajfertová are in front of the camera only by mistake. The main couple, Barbora Leichnerová and Josef Novotný, suffer from the fact that Novotný was never a professional actor and she was just a popular teenager of the time. Many individual valuable motifs disappear, popular music, the Holocaust, collaboration... As a television production entrusted to another creative team, only loosely adapting "Lev," would probably have achieved the ideal result.

A great reference for anyone learning about (or revisiting) the early days of film. The commentary is more amusing than actually adequate, but the films are wonderful and logically categorized. It's almost chilling. Kříženecký has some explicitly identical films, but that's also logical.

A very nice new Disney (Junior) series. It's sort of Addams Family for kids, and if you're still young mentally, you'll have fun even at an older age. I loved Vampirina right away, I'd pretty much even flip through the original "Vampirina Ballerina" books that Disney based them on.

The 5th series has a logically different atmosphere than the previous series, which described the life of Ragnar Lothbrok. Now we are a generation on, watching a civil war waged by his sons. The battle for Kattegat becomes one of the highlights, and the second half of the series is split between adventures in Wessex, Iceland, and the Viking heartland. There are still great shield-bearers and brave warriors, and one of the most interesting new characters is Bishop Heahmund, played by Hirst's favorite actor Jonathan Rhys Meyers (King Henry VIII from The Tudors). There’s a lot to think about, and it's very interesting to try to trace the sources that inspired Hirst's final scripts. I'm also glad we're not losing both of Hirst's daughters. Helga was great, but Torvi is an even more interesting character.

Satisfaction. It's exactly the kind of parody that today's age of oversaturated TV procedurals demands. Šmídmajer managed to put together a quick cadence of funny situations, gags, catchphrases, and references. I had an awkward reaction to his previous 4 films, whilst here I don't have the slightest problem with it. Anyone who isn't laughing is probably voluntarily watching those prime-time procedurals. #kinonwheels

I vaguely remember the Ostrava blog as the first significant work of this kind. It’s too bad the film didn't come out sooner, because after 12 years it can't resonate as much. Actually, the film came at the end as a kind of punctuation to television and theater. Fortunately, a few scenes work well as standalone anecdotes, so it's not that much wasted time, but the whole thing is obviously a misstep that didn't have any sort of dramaturgist. The best thing is the cameo by Věra Spinarová and the well-chosen song by Marie Rottrová at the right moment.