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In the 80s, the Teen Titans were one of George Pérez's top projects. He's been involved with them for years and has created some of the best stuff for the Teens in addition to Wonder Woman and The Avengers. The film adaptation had been speculated for a long time, so the current cartoon had to bridge a lot of time. Gone is the Cold War and the team has changed, and while Teens used to plan adult social events such as weddings, the current Teens are closer to children than young adults. This, by the way, describes a long-standing trend in DC that does everything it can to make the juvenile years last, preferably forever.

This film makes an ideal combo together with the later biopic Edith and Marcel. Brigitte Ariel interprets Piaf as Momonka remembered her, in the days before her first great success. This film is outright full of energy and joy while still managing to be proud of its national icon.

The beautiful thing about Almodóvar is that he makes his films as a loose auteur series. And if he's working with Antonio Banderas and Penélope Cruz again, it's like reuniting with old friends. Thus, the basic comfort feeling is guaranteed. Everything else is secondary and yet again great, autobiographical, full of nostalgia, memories, film sets... There is no shortage of unexpected love. I'm satisfied.

Luhrmann's version of Romeo + Juliet eluded me for a long time. While DiCaprio was fastidious before Titanic, Danes was simply pure, and the modern setting and grittier fights worked out well. I also liked the shattering of the classic balcony scene, but what I didn't like was the combination of modernism and Shakespearean language. I'd rather watch West Side Story.

Apparently, I missed the cultural background of the origin of the nerds, so now I know more. Despicable Me is quite an interesting cartoon with a strange combination of adult themes and children's ideas (the scene with the reading of the concertina book with the finger puppets is very cute), which in some places works as successful family entertainment and in other places I would doubt them.

This isn't a movie, it's a bad joke.

And Just Like That... we find ourselves with more Sex and the City stories. After the first episodes, some viewers' eyes nearly fell out, but soon this season also became a classic gossip format on relationships and sex. Life goes on, and if you are fifty, even then it doesn't mean you should stop living. I consider the storyline dedicated to Miranda's transformation to be the best written because it made me feel as good as I did during the new seasons of The L Word: Gen Q. This show has always broken boundaries and continues to do so years later.

Something good on the subject of what the film would be like if we had Helen Mirren and Ian McKellen playing the two equal leads? The result is an intriguing thriller that’s just right for those two favorite old actors, with a nice helping of British humor and a witty reference to Inglourious Basterds. I wouldn't even say it was overcomplicated in any way, because the lives of today's seniors are not a linear, colorless fairy tale. Wherever they were born.

Agatha Christie considered Crooked House (1949) to be her favorite novel. Perhaps because she defended the ending against the publishers' assumptions. In any case, the material is also interesting for the audience because the filmmakers don't use it much. Here we have the opportunity to encounter a relatively new and interesting substance; moreover, the cast is dominated by Glenn Close and Gillian Anderson outside their usual mannerisms. And while I prefer the pre-war Christie in many ways, I certainly don't consider this a loss. Yet if only the filmmakers could have stuck more to the aesthetics of the 40s, given that the 50s are in fact somewhat different.

Evan Hunter's (Ed McBain) 1954 re-write of the novel of the same name may still be of interest today for several reasons. For example, the highly polarized issue of public education in the era of the rising rock and roll youth (the classic "Rock Around the Clock" is heard in the credits) or the issues of employment of war veterans, and then we have the young Sidney Poitier, etc. The overall experience is thus framed by the period aesthetics and approach to life. The secondary storyline depicts the situation of a pregnant wife who is coping very badly with anonymity and jealousy and yet would be willing to sacrifice her second child for a better tomorrow.