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Adrian Topol - European premiere of the fourth season of Netflix series 'Orange is the New Black' at Kino in der Kulturbrauerei movie theater at Kino in der Kulturbrauerei movie theater - Berlin, Germany - Tuesday 7th June 2016

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Adrian Topol - Celebrities at the premiere of 'Orange Is The New Black' at Kulturbrauerei. - Berlin, Germany - Tuesday 7th June 2016

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Judith Hoersch , Adrian Topol - The Hateful Eight premiere at Zoo Palast - Berlin, Germany - Tuesday 26th January 2016

Topol and Judith Hoersch
Topol and Judith Hoersch

Topol - Richard Topol Thursday 7th June 2012 After party for the opening night of 'Kenneth Lonergan's Medieval Play' at the Signature Theatre

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Topol Monday 2nd May 2011 Richard Topol The Official Reception for the 2011 Drama Desk Award Nominees held at Bombay Palace Restaurant. New York City, USA

Fiddler On The Roof Review


Essential
As an art form, musicals are dubious at best. Musicals started out bloated and cliché-ridden in the days of Busby Berkeley, and thanks to Andrew Lloyd Webber and Co. many of today's musicals are even more bloated and cliché-ridden. Like Vegas shows and daytime soaps, most Broadway musicals seem so bad to me that I have never understood how any human being could get any entertainment value out of them --- much less millions of people.

So it has always been amazing to me that a few musicals actually aspired to be clever, serious-minded works of art. And several of them (My Fair Lady, Singin' in the Rain, South Pacific, West Side Story) have been made into classic films as well. In my opinion, Fiddler on the Roof stands at the top, both as a musical and as a film.

Continue reading: Fiddler On The Roof Review

Fiddler On The Roof Review


Essential
As an art form, musicals are dubious at best. Musicals started out bloated and cliché-ridden in the days of Busby Berkeley, and thanks to Andrew Lloyd Webber and Co. many of today's musicals are even more bloated and cliché-ridden. Like Vegas shows and daytime soaps, most Broadway musicals seem so bad to me that I have never understood how any human being could get any entertainment value out of them --- much less millions of people.

So it has always been amazing to me that a few musicals actually aspired to be clever, serious-minded works of art. And several of them (My Fair Lady, Singin' in the Rain, South Pacific, West Side Story) have been made into classic films as well. In my opinion, Fiddler on the Roof stands at the top, both as a musical and as a film.

Continue reading: Fiddler On The Roof Review

For Your Eyes Only Review


Very Good
As unlikely an adventure as James Bond has ever taken, For Your Eyes Only is one of the better Roger Moore vehicles, thanks to a script that overflows with exotic locales and extreme adventures for our hero to undertake. Eyes features Bond's best ski sequence (from slopes to ski ramp to lodge dining table to bobsled run), one of the best underwater moments (with Bond and his lady friend tied to a boat and dragged through a coral reef), and some of the best Bond-girl skin seen to date. Carole Bouquet even proved to be one of a very few Bond girls who could act, and it's refreshing to see Bond restrain himself from Bibi (Johnson), a young figure skater oblivious to everything but athletics and sex. The "stolen encryption device heading for Moscow" plot is a throwaway, but the real standout is Bond's steeled attitude: his mind clearly renewing his "license to kill," giving us Roger Moore at his most vengeful.

Continue reading: For Your Eyes Only Review

Flash Gordon Review


Good
In the grand heirarchy of high camp, The Rocky Horror Picture Show is at the top. Flash Gordon is directly beneath it. In many ways, Flash is both as good and as bad as moviemaking gets. The battle between Jones and Dalton on the deadly, spike-ridden, tilting platform hovering over a 50-mile drop is as tense as fight scenes get. The football-inspired fight in Ming's throne room is otherwise. A must-see on DVD for purists and superhero freaks. He will save every one of us!

For Your Eyes Only Review


Very Good
As unlikely an adventure as James Bond has ever taken, For Your Eyes Only is one of the better Roger Moore vehicles, thanks to a script that overflows with exotic locales and extreme adventures for our hero to undertake. Eyes features Bond's best ski sequence (from slopes to ski ramp to lodge dining table to bobsled run), one of the best underwater moments (with Bond and his lady friend tied to a boat and dragged through a coral reef), and some of the best Bond-girl skin seen to date. Carole Bouquet even proved to be one of a very few Bond girls who could act, and it's refreshing to see Bond restrain himself from Bibi (Johnson), a young figure skater oblivious to everything but athletics and sex. The "stolen encryption device heading for Moscow" plot is a throwaway, but the real standout is Bond's steeled attitude: his mind clearly renewing his "license to kill," giving us Roger Moore at his most vengeful.

Left Luggage Review


OK
Topol, where have you been since Fiddler on the Roof? Ah, the triumphant hero returns in a small role in Left Luggage, an overly sentimental (and manipulative) film about the plight of Hasidic Jews in 1970s Antwerp. Laura Fraser (the Scottish answer to Eliza Dushku) plays a modern Jewish girl with modern sensibilities (she wears pants) who takes a nanny job with a Hasidic family in order to pay the rent. So backwards, the family's father (Jeroen Krabbé, who also directed the film) isn't even impressed when she gets their four year old to say his first word -- instead saying he should be asking the questions of the Seder instead of saying "Quack." Meanwhile, Laura's father (Maximilian Schell) is digging up Antwerp in search of his lost bags from WWII. And we are asked to sympathize with all of these cases, unsuccessfully. Based on the novel Twee Koffers Vol.
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