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The differences between the French and American transcriptions of Les Misérables from 1934 and 1935 can be used to explain the full difference between European cinema and Hollywood. One could not ask for a better example. France is realistic, faithful, unafraid of extreme length, reverential (which is not to say backward in any way), formally impressive, and influenced by Impressionism. On the other hand, Hollywood classically underestimates the viewer, shrinks the main themes to the "interesting and action-packed" and tones down anything that might get the audience too excited. Personally, I have the biggest problem with how Fantine's story turned out. It doesn't sink nearly far enough to make sense and even gets its own little happy ending in the middle of the film. It is absolutely fascinating to watch both versions side by side. Nothing against the work of Fredric March, Charles Laughton, or Richard Boleslawski, but Darryl F. Zanuck knew what he was doing. If it was just a historical rarity, I wouldn't mind. But it was this version that influenced the rewriting of Les Misérables for generations to come, who didn't even perceive Hugo.

A gritty retelling of a brutal novel. Europe's first sound adaptation is one of the great films of the 1930s, and on many levels it goes to the core. The runtime is of course generous, but numerous other transcriptions also struggled in one way or another in their attempt to shorten the 2000 pages. The performances match and often exceed the French standard of the time. The highlight is the story of poor Fantine in the very first part (the portrayal of this character is always a challenge, Hugo really gives us a lot of information about her, and here we have the opportunity to get to know Fantine before she meets her fate, which is why the sight of her death is so painful). The loathsome Thénardiers reign supreme in the second episode, their character traits easily overshadowed by the itch and disgust of their characters, settings and dwellings. And, of course, episode three shows the drama on and under the barricade. The time they spent on it was worth it.

A weak concoction of the 80s phenomenon, a short modern adventure that will appeal only to those who are truly nostalgic. I definitely have a much better opinion of the modern comic that was published by Dynamite in 2018/2019.

It’s too ambitious and French to the core. Jean Valjean's modern 20th-century tale is a bold topic, but it's hard to praise it for its clarity even where one hasn't read Hugo from the cradle. This lavish three-hour fresco follows the cruel first half of the 20th century and contrasts it with the classic fates of Javert, Fantine, and Cosette and their modern counterparts. Justice has never been in a more difficult situation. A big positive is Alessandra Martines (Princess Fantaghiró) longing for a new role as an actress in serious films.

A commemorative co-production film about the making of a co-production film in the 39th year at Cinecittà studios in Italy. It’s too bad that the fictional Tosca was not actually created, as then the statement would have had more power. Puccini's beautiful opera as an excuse for an Italian film directed by a Hungarian, starring a German and an Englishman, symbolically illustrates the tensions between nations and individuals in spite of these facts. Alfred Molina is excellent.

OutKast should have resigned themselves to a jukebox musical and made some proper music videos, toured with their latest album "Idlewild" and everyone would have been fine. Thus, the memory of this exceptional duo becomes somewhat bitter as they signed their names to the greatest black cliché imaginable. Small town, prohibition, and the road to happiness, lined with curvy ladies of color that would put even Joe Baker to shame. The a-historical music in this pretend retro doesn't make the slightest sense, nor does the belief that André 3000 and Big Boi know what acting is all about. Maybe the talking rooster should have given them some advice.

In its time, Murder by Numbers aroused great acclaim. I liked the young ferocious acting of Michael Pitt and Ryan Gosling, the different level of the stalwart Sandra Bullock, and of course the romance between the young Gosling and older colleague Bullock, which suitably complemented the promotion. Some went so far as to see in the film a sequel to such classics as Dahl's short story "Lamb to the Slaughter" or the classic Hitchcock film Rope. I wouldn't go that far. However, it is a good experience. Especially in hindsight, knowing that both Pitt and Gosling were going places.

A calm B-movie, a gift for Jon Bon Jovi fans. It’s a pleasant environment for rehearsing a play and a group of well-coordinated actors. Thandie Newton has always been very interesting. She started out alongside Kidman in Flirting and by the time that film was being shot she’d already had an affair with Brad Pitt (they met while working on Interview with the Vampire). In this film, she got a nice opportunity to mature. Those looking for Kidman will have to wait for her cameo at the very end of the film.

This all-star experience is nothing short of a tribute to Cole Porter. The life and work of one of the 20th century's finest composers needed a light form of biographical collage, and that’s exactly what he received. The likes of Robbie Williams, Alanis Morissette, Natalie Cole, Sheryl Crow and John Barrowman did not miss their opportunity. Personalities from Porter's life pass through the scenes (L.B. Mayer, Irving Berlin) like clockwork, and those who were not touched upon are at least spoken of with respect (Marlene Dietrich). Unfortunately, the songs are interpreted in a modern arrangement and we have to go elsewhere for factual information. The reason for the loose script is the end of a life that balances but does not verify. The film's title is based on the song "It's De-Lovely," originally written for the 1936 musical "Red Hot and Blue."

Kyril Bonfiglioli's Mortdecai is often compared to the poetics of P. G. Wodehouse. The film version is more of a classic experience for die-hard Johnny Depp fans. The rest of the stars happily help him out - Ewan McGregor as the classic side-kick who thinks of Mrs. Mortdecai played by the ever-dangerously beautiful Gwyneth Paltrow, Jeff Goldblum caricaturing himself, Paul Bettany overstepping his shadow and Olivia Munn never more attractive. Sometimes you just have to have no preconceived notions and let the film inspire what you read.