NinadeL

Beauty and the Beast, or a surreal trip into the world of fantasy framed by unusual contours. The visuals are absolutely captivating. What separates this film from the maximum is the fact that Beauty can be better as a Panna.

A lovely reconstruction. The version I saw was not complete. It's actually a whole little movie with lots of intertitles and a short plot, not just a brief gag.

The story, which takes us from 1914 to the 23rd century very quickly, has been waiting 20 years to be realized. It’s therefore not surprising that it is not accessible to everyone the first time they watch it. It's part parody of a parody and part celebration of fantasy. I am happy for Moebius and Maïwenn Le Besco.

This is not a particularly spectacular drama based on a true event, but it is all the more so built on a pitch-perfect performance by Miranda Richardson and a very conscientious production that I had no trouble believing that it was set in 1954-1955. Rupert Everett and Ian Holm are properly sleazy and the whole thing is wonderfully twisted. And if evil in movies has a logical justification, I say a resounding yes.

The 1980s had Rainbow Brite teaching kids the colors of the rainbow. Now the main character from Strawberry Garden is responsible for creating a variation on the theme. It's going to be quite a challenge to live to see all 14 episodes.

The DVD is intended for very young children. This is evidenced by the didactic approach of the sole narrator, who boldly guides us through such infernal situations in the clay-animation system as mutual visits of the marzipan cat Hello Kitty, the monsters in the red hood My Melody (Happy Melody?), the penguin Badtz-Marua, the long-eared Cinnamorolla, and allegedly the golden retriever sumo wrestler Purina. If Teletubbies are language courses for the youngest kids, Hello Kitty is nothing at all.

This is a film that manages to brighten up your day and keep you interested even after a long marathon of nonsense from a completely different genre. It’s great for audiences of literally all ages. This means that only the bored and overworked plebs will despise it. Or someone who hates a good buddy movie from the bottom of their heart.

Whether it’s The Magpie in the Wisp or this, it's all the same crap anyway. The revolutionary "youth" in several ways... Or, as others noted, Ballad for a Bandit is a film for contemporary witnesses, or a memory of a play from the Goose on a String theater, which, of course, was only very loosely approached. Nothing more.

It’s very good, not perfect, but very pleasant. However, it’s really too bad about the cut scenes, whose runtime is not all that devastating, and yet it is without them that several jokes are robbed of their point. Above all, the characteristic of the buddy movie as defined by Frances McDormand as Guinevere disappears. In the background of the story is also the interesting tale of the adaptation of the book written by Winifred Watson in 1935, which was originally supposed to be filmed by Universal in the early 1940s, but Pearl Harbor put an end to all such plans. The story goes that Watson sold the rights to her book a total of three times, but sadly died 6 years before an adaptation could be made. Her son thinks she would have liked it very much. The question remains whether it was necessary to move the story to the brink of World War II and at the same time define Miss Pettigrew as a woman from whom one war took something and only the second gave it back. That is a cliché.

I Am Suzanne! is the third of five American films Lilian Harvey made for Fox and Columbia between 1933 and 1934. I Am Suzanne! is a colorfully-tinted melodrama set in Paris and based largely on the projection of the acting performances onto the marionettes they lead. The unhealthily-skinny Harvey is as if embedded in her classical environment, and the script offers her an artistic number in a European-style revue, but with a noticeably American signature. And that's the main problem. The whole misses the point when I Am Suzanne! merely pretends to be set in continental Europe without shedding the mannerisms of a cheap second-rate American production (there's no more compelling reason to make the transition to puppet film than hysterical kitsch). The rest of the cast, led by Gene Raymond and Leslie Banks, only confirms the pervasive cluelessness. On the other hand, I Am Suzanne! counters the traditional left-wing claim that German films could never be equal to American ones.