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Menzel returned behind the camera to show another face of humanity. However, he forgot that in his previous ventures, it worked because of honesty, not because the naive hero with a silly smile pushes through a world of falsehood – only to eventually joyfully indulge in it. The director's pleasure in adapting clearly defined characters, which worked so perfectly in Cutting It Short, tragically fails when The King starts to become an attempt at something more. It inevitably sounds completely foolish. Czechs are either cowards or hurt patriots, Germans live only for their devotion to Hitler, and when the Victorious February arrives, the smiling communists must not be missing, as they want to divide everything among the people. What could be more half-hearted than these characters? In such moments, the last smile disappears from the face, which stemmed from the fact that if I don't get a proper story, at least the thread is adorned with many attempts at "nice scenes from life". Unfortunately, there are too many passages where absolutely nothing happens and a group of cheerful, chubby gentlemen eagerly looks at a half-naked girl. So much so that Menzel's planned career peak becomes occasionally torture and proof that anyone can end up at the bottom of Czech film quality.

I was expecting a cynical hero locked in a scary room. And I got a cynical hero with past trauma locked in a treacherous room, which can scare you so much that unexpected visitors will not be welcome at that moment. Even in the horror genre, there is occasionally a surprise that won't easily leave your mind and that you would gladly experience again, despite the unpleasant dose of fear. Cusack's The Raven deserves this privilege.

Grant charmingly looks, Grant wearily looks - and Grant wants to live. That title is not a metaphor at all. It captures the film as purely as you can imagine and only a few jokes save it at a time when housing starts to take some form. Otherwise, it is surprisingly austere yet amusing morality tale that cannot even give the viewer a regular break against the backdrop of an unmistakable atmosphere of forgotten films.

Spoilers - - A lifelike motif of an unequal relationship that, due to unhappy screenwriting choices, unexpectedly hits rock bottom very quickly. And in retrospect, I have to admit that I am truly disappointed by such a development. I couldn't believe it when Karolína accepted Alex's invitation to Italy and I experienced all those beach meetings, sex on the rocks, and unspoken non-intimacy with them. And for a while, I still had this pseudo-genre of "Czech sexual drama" under my skin in a strange way. Maybe I'm getting old, but it was right here that I realized that even in Czech cinema, life truths can be found and Čvančarová's answer, "But you want everything: love, passion, intellect, it's impossible," I unintentionally repeated for a while. Everything ended with the second breakup and Karolína's transformation into a "beast". Suddenly, everything becomes superficial and starts to play out in a clichéd manner. That's why there's no chance to see Marek's character because he's just a "womanizer who likes cows," the same goes for the horribly written and performed character of the minister, who remains in most people's minds as "Vašut plays like an idiot and wears a peacock tail." And the main heroine makes her way through all of this until the end, which once again picks up such a quick pace that I could barely blink. I was prepared to reluctantly accept this bizarre happy ending, to reconcile with the film and the previous interchange of everything that walks and wears pants, and even forgive. But in the end, the creators managed to completely destroy everything that had been said up until that point. And that in the last minute, in fact, the last sentence. I don't believe in this. From a romantic drama to a super awkward attempt at comedy and then to a feminist torch of hope? Viewers with freshly broken hearts may welcome this ending as a new horizon, but others must feel this calculating move as betrayal.

Shy, Annoying, Confident, and Stuttering meet Beautiful and a pleasant sitcom begins, which fate has determined to become an unbelievable phenomenon over time. Sometimes clichéd and unoriginal, other times genuinely funny but essentially gentle enough to entertain for many years. However, every topic eventually runs dry, and because the creators only dare to move the main characters forward once every few seasons, my smile faded by the third season. The unexpected salvation for the entire series is the gradual introduction of female supporting characters, while the repeated jokes (the unbearable running joke with Howard's mother) and the routine with which Sheldon's monologues are delivered increasingly undermine it. In short, I don't know what to do with this group. Thanks to the initially fantastic (and later at least reasonably reliable) Amy and Kaley Cuoco's ability to effortlessly outshine everyone as Penny, I still occasionally find it entertaining. On the other hand, Leonard, Howard, and Rajesh have seemed like mere pawns reciting expected lines for quite some time, not to mention Stuart, who is inexplicably favored in later seasons. After six years, the fourth star clung on, perhaps out of nostalgia, but from the seventh season onwards, it's just beating an empty straw, so I'm losing my longstanding sympathy, especially since the tenth and eleventh years are painfully and embarrassingly sleepy. However, I stayed with the series until the very end. The direct correlation between mediocrity and lack of wit and the impressive ratings fascinated me even more as I understood it less and less.

Timeless and great subject, which had the misfortune of being realized during the unlikable period of the 70s and 80s. I can't shake the feeling that the slight tragedy and repeatedly hinted futility of effort and hopelessness of the judicial system would have stood out much better in a different era. Without the peculiar hairstyles or a soundtrack that in no way fits the events on screen. And it's a huge shame, because Pacino immersed himself in the story as usual with full dedication, and I marvel at his perfect rendition in the helicopter and I'm blown away by every monologue, especially the captivating final speech, which is one of his career highlights. That's why I'm so disappointed that the script unconditionally delves into its moralistic part in the second half and loudly criticizes American justice. With a bit more believability, it could have reached much higher.

From all sides, I heard praise for the fact that the film, true to its title, does not focus on Havel the politician. Therefore, I was surprised to discover that the primary documentary thread follows the Man Havel and his conflicts and opinions in relation to, uh, politics. Nevertheless, I still join in the positive feedback because this entertaining-educational form has almost enchanted me, even though it could have explored the theme much further.

Up and Down along the Life Path or A Destiny Journey with a Twist. The way this intimate spectacle resonates within me surpasses countless other, albeit ambitious dramas.

The start may be slower, but once the viewer immerses into the community, the tension never disappears and moreover, what Sedláček, with the help of the acting ensemble led by Langmajer, demonstrates during the last two sessions, is an unbelievable spectacle by domestic standards. 85%

Young people love each other, older people love each other, everyone dances, the older ones even jump on the beds, and everyone sings Abba, Abba, and Abba again. And after the first ten minutes, a slightly contemptuous expression leaves me and is replaced by a smile. And he doesn't want to disappear for anything. There hasn't been a more positive movie in a long time, plus Amanda Seyfried is the sweetheart of the summer of 2008, and all three "fathers" are partially clowns and partially dads to admire. Plus Meryl's The Winner Takes It All is such a fantastic number that I couldn't find any flaws until the (slightly extended) end. When I see it again on the screen, maybe the magic will start to fade. At this moment, however, I hope not.