NinadeL

Ang Lee wasn't far from the truth, but unfortunately, his Hulk came at a time that hadn't yet reckoned with the macho MCU. The Incredible Hulk of the new generation is the latest take on the classic Beauty and the Beast myth, Frankenstein's Monster, the Monster of the Black Lagoon, Swamp Thing, and more. However, I am pleased to acknowledge that, in terms of the acting, Hulk features very decent performances from Edward Norton and Liv Tyler, though the whole thing could be considered merely as "trying" - and, in retrospect, just a straight-up Marvel movie. Bruce and Betty's romance is truly life-like and their shared intimacy is very realistic. The MCU has lost a lot by losing this duo.

Boring, boring, grey. There was some effort put into it, though. However, cinematic Marvel adventures set in the present are for a different target audience. I prefer to have some of that sequential art, as the film version of The Winter Soldier only served to make me cry over Steve and Peg's reunion. That was really touching. Other than that, I didn’t even enjoy Robert Redford, and that's saying something.

The MCU primarily only entertains me in the storyline that deals with the golden age. So there's Cap's first movie and everything Agent Carter - related. I simply have to laugh at Adrianne Palicki's career. It went through DC's Smallville and two Aquaman and Wonder Woman -themed fails and eventually, surprisingly, took root with the competition.

It's a cute parody of Two and a Half Men from the Charlie Sheen era. We have Kandi and Rose, and everything is as it should be. It doesn't demean the original series in any way - on the contrary, this parody is exactly literally where the series was always going. It's just too bad Dylan Ryder didn't have someone more interesting to act alongside. But whatever. Evan Stone is a superman.

When watching this, people will have to decide if the magic of Christmas belongs in the world of He-Man and She-Ra, because Masters of the Universe can be a great fantasy, but the spirit of Christmas really isn't the right thing to fix Skeletor, and especially those useless children in peril... who the hell is asking for them? In the end, the only upside to this movie is that it's a crossover between He-Man and She-Ra, which is fine, but The Secret of the Sword was much better.

The basic message is primitive: violence is bad, yes. Everything else is just filler hanging on a formal pun, which ultimately degenerated into the fact that everyone must have heard something at some point about Monica Bellucci (an absolute goddess at the time) filming a very naturalistic rape scene. But the point of why this was so has been lost in the rumor mill. Such a process is irreversibly odd and the overall project is therefore useless and the uproar around it downright empty. And there was somehow going to be a groundbreaking film told backwards in 2002? Nobody believes that.

At the beginning were the legendary performances of Almodóvar's darlings, Antonio Banderas and Penélope Cruz, who otherwise classically star independently of each other in his films. After that, they were forgotten and the whole thing surprisingly culminated in the warmest comedy based on the song "I'm so excited." I don't have a problem with something like that, especially if it all ends so optimistically, my captain. ;)

Almodóvar's first film, which opened with a scene with Penélope Cruz, and stars Javier Bardem. At the bottom of the passion is the classic Spanish relationship chaos, where everyone acts like a UFO, looks like a UFO, and pretends at festivals that it's all so interesting, new, original, and somehow revelatory. Ok, then. If that's enough to make you happy, go ahead and watch a rerun.

This is classic 1990s comedy. Everyone is in their place, looking and acting exactly as they should. The lead roles are split between Michael J. Fox and Kirk Douglas for good measure and I loved Nancy Travis in the American version of Three Men and a Baby, and if you pay attention, you'll find the lovely Kirsten Dunst among the children. They don't make films like this anymore, and if you like that time period, you'll find it to your liking.

The Crazy Ones is the latest series thus far from TV matador of the past David E. Kelley. In the half-hour comedy episodes written for Robin Williams, everything works like a charm - the cadence of the fantastic dialogue knows no bounds, the wit is fresh, and the themes of the individual ideas of the Lewis, Roberts + Roberts ad agency are catchy. So where is the problem? Both Kelley and Williams are making something as if they were living not after 2010 but before 1990. While that adds a fresh charm to the series, and fans of both will find it fascinating - Sarah Michelle Gellar even inspired this creative pairing to take a completely different acting stance - I can't help but feel that the series also ultimately came to a premature end, namely that it takes place yesterday and tackles yesterday's problems through the lens of yesterday. It's new nostalgia and it's not for everyone.