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It's best not to approach Dreamland as another Margot Robbie and Travis Fimmel film, and instead you should mind into the Prohibition era and expect something more like Lawless (2012). Then you will get a good retro gangster movie with an interesting anti-hero. Moreover, Allison Wells is completely different than Tonya Harding, so don't be fooled by the blonde face on the poster, because Margot Robbie is a very good producer first and foremost and has her career firmly in hand.

In the 7th Monster High movie, the main story is a very nice variation of fairy tales with French charm, whether for adult audiences in the style of Emily in Paris or child audiences as in Barbie: A Fashion Fairytale. I was really happy to see a good portion of space given to Rochelle Goyle, a gargoyle with roots in Notre Dame, whom I've grown fond of in the "Ghoulfriends" book series. Yet the problem is that the plot of Scaris was barely an hour long, and the rest of the runtime was filled with a naive slapstick that would have worked better in a series format, which somewhat detracted from the otherwise positive impression of the film.

The TV transcript of Death on the Nile with Suchet may be one of the more popular versions, but it's still a cheap TV spectacle that pales in comparison to the film versions. Yes, Suchet is excellent, but his teammates fall short and the beauty of Egypt doesn't shine through as much. The only one who later made it big was the local Linnet Ridgeway - Emily Blunt. This role was originally given to the then dark-haired beauty Lois Chiles from The Great Gatsby in the 1970s, who later became a Bond Girl. Thirty years later, they tried to make a change and Linnet became a beginner blonde, who made a name for herself only after she reverted to dressing dark. Today, the proud Linnet is again the dark-haired action protagonist Gal Gadot from Israel. The famous Suchet series, therefore, did not play a decisive role in this trend.

Blood Type is one of those forgotten films that Hudson Leick made in the Xena era. Back then, many fans would have appreciated any B-movie with their favorite actor, but the availability of such projects was scarce. Today it's not much better, because particularly the actresses from Xena didn't break through (even the most popular ones). So 20 years later, I'm looking at scenes from this film with Hudson, not really paying attention to the film itself, and having fun imagining what screenshots of Hudson in that red leather corset in 1999 would have been worth...

There is little to add to the many superlatives that rightfully pertain to the documentary. What was missing was an explanatory commentary by someone who would have been able to fill in the insider's catchphrases and fan enthusiasm, at least give an outline of the stages of the whole phenomenon, add some numbers (Snow White from 1937 is an atypical example, as otherwise, the selection was mostly American and Asian films from the 60s-90s, the porn was probably German, and other European films were not primarily of interest), and compare it with the mainstream scene before and after 1989.

Emotionally, Sami Blood is widely understood even among viewers who are far from Scandinavia. Pre-war ostracism was pervasive in many forms. In this case, it was the exclusion of the Sami from the Swedish culture. In addition to the authentic Sami sisters Lena Cecilia Sparrok and Mia Erika Sparrok, we also get also Hanna Alström (The Affair) in the morally complex role of a Swedish teacher at a Sami rural school.

One of the weakest behind-the-scenes documentaries ever made. Changing partners (including those in marriages with other people) is unfortunately a routine part of the development of interpersonal relationships, and there is nothing unusual about it. This is where the connection between the film's cheating wife Magnani (Vulcano) and new partner Bergman (Stromboli) is supposedly found. And that's it. There’s nothing worth talking about. We don't learn anything special about the films, or the actresses, or Rossellini. Even a simple Wiki entry conveys more than this pseudo-documentary.

Regarding the 12th Monster High movie, I admit that I had too high expectations for Boo York, Boo York. Since this is a musical, everything outside of the musical performances became irrelevant. The script suffered somewhat as a result, and while the individual monsters often interacted with the interesting realities of an alternate New York, the result is just a new fad (and a lot of new collectible dolls, playsets, and books). I also see a problem in the little involvement of Operetta, who logically should have been a more prominent character given the chosen genre. In the end, the main thing that pleased me was the post-credits scene, which is honestly not much to be happy about.

The 10th Monster High movie. These late MH movies are really, really good. They have longer runtimes, great scripts, and incredibly creative new ideas in terms of potential for new toys and play sets. Freaky Fusion is a beautiful homage to the Victor Frankenstein mythos with a love of steampunk. There are a number of references to classic Universal (and Hammer) horror films, as well as a variation on the legendary scene of the awakening of the robotic Mary from Metropolis (1927).

The 3rd Monster High movie still has a shorter runtime for now, but it’s finally in 3D. Narrated by Frankie Stein, the story follows the preparations for Draculaura's romantic birthday, which falls on Valentine's Day. Among other things, we also get an original story about why (and for whom) Valentine's Day was created. It's fast-paced and the experience is perfected by the presence of the sympathetic supporting characters Cupid and Operetta.