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This was an attempt by Věra Plívová-Šimková to venture into the field of a socially engaged film with an environmental theme. However, it is influenced by the time period, so the child characters collect the waste of untidy vandals without revealing deeper connections to the ecological crisis. In her filmography, it is rather a weaker work. Overall impression: 50%.

I would say that this is a somewhat overrated film. The concept is good, especially in the first half, where the director unfolds a game full of disturbing hints and doesn't push too hard, it has a decent atmosphere, and in some moments it is even comically entertaining, although it is primarily a psychothriller with a horror atmosphere. Unfortunately, in the second half, the script unfolds way too wild of a performance around the psychosis of the main character and his gradual mental breakdown. The problem is also that Polanski as an actor is far from the qualities of Polanski as a director, so it is true that films where Polanski cast himself in the lead role are noticeably weaker. A charismatic actor like Jack Nicholson should have been cast in the part where the film escalates and shows the paranoia of its protagonist. Polanski succeeds in the first half, where he only needs to show his shy face, but he fails in the parts where he meant to unfold a wide range of emotions. Overall impression: 55%.

A detective film where Karel Höger stands out in terms of acting, and as an interesting note, it was directed by Oldřich Nový. From today's perspective, it's nothing exceptional. Overall impression: 50%.

An attempt to build on the American school of classic detective stories in the noir style. It has a very good cast with the central duo of Dana Medřická and Jaroslav Marvan, as well as a decent script, but it is somewhat outdated and the actors in the supporting roles are not as good. Overall impression: 60%.

During its broadcast on the American television market, this sitcom was very popular, managing to empty entire streets despite the exceptionally high competition from other TV stations. The creators approached the subject differently than Altman, who directed a very raw and unpleasant anti-war film about the absurdities of war. The series M*A*S*H is clearly more mainstream, full of positively-tuned humor, with an emphasis on humanistic values while maintaining the original anti-war sentiment of the story. The series was successful practically everywhere it appeared, and as far as I know, it received exceptional reception, especially in Israel, where they have their own experiences with war, so why not at least laugh about it? For me, MASH was never a full-fledged cult show, and I was bothered by a certain slickness of the environment. Above all, the quality of the series declined over time, with later episodes sometimes even plagiarizing themselves. Overall impression: 75%.

I traditionally have a problem with Vlasta Burian's acting, as I tend to lean more toward intellectual verbal humor, but I must admit that Vlasta Burian was excellent in this film and it is probably the only film where I fully accept his acting style. It's a lever comedy that surprisingly still has something to say today, and from a historical perspective, it deserves a solid 5 stars. Overall impression: 90%.

Ghost Ship can serve as a reflection on how the opinions of others influence our judgment, as well as on how deceptive such judgments can be. This stands out especially when compared to the Spanish horror film Rec. In the end, I gave both films almost the same percentage rating. Rec received excellent reviews and praise that fueled my high expectations, which were ultimately not completely fulfilled, whereas Ghost Ship had very critical and venomous reviews that cooled my expectations to a minimum. In the end, I was pleasantly surprised because I really didn't expect anything from it. Ghost Ship is obviously not great art; viewers must look elsewhere for that, and it does not represent a genre peak in any way. It is just an average, routine ghost story that can boast of having a few decent scenes, such as the execution of the passengers or the gradual discovery of the interior of the abandoned wreck. However, it is also limited by mediocre directing and screenplay. Compared to Rec, it does have a more decent cast, especially someone like Gabriel Byrne, who demonstrates why he is a respected actor even in a film like this. Undoubtedly, more could have been extracted from it, and undoubtedly, there are a number of clichés in the film, but let's be honest, I found more of them in Rec. Moreover, practically no other genre, perhaps with the exception of space opera, has as many horror series sequels as A Nightmare on Elm Street, Children of the Corn, Halloween, etc., which are squeezed to absurdity. Those directors and screenwriters use clichéd scenes precisely because they know they work very well on horror audiences. All in all, it is an average, but sometimes quite entertaining B-movie: 50% overall impression.

A film I have seen before that I just watched again, and it made me happy. It is a very solid crime comedy full of black humor, ironic exaggeration, and decent dialogue. Additionally, it is very well cast, as Marcello Mastroianni is an excellent character actor with charisma and Ornella Muti shined on the screen in the 70s thanks to her charm. She is not a great actress, but in her case, it is enough to simply be in the film and the male part of the audience melts. When it comes to classic beauty, I would probably prefer Catherine Deneuve, but when it comes to sensuality, those deep eyes of Ornella Muti reliably win. The film has a functional screenplay and well-written characters. It works both as a detective story and as a comedy, and it also has an interesting point. Overall impression: 75%.

Hostile Waters introduces no significant innovations in the submarine drama subgenre. There is a clear effort to do a solid job within the limits of the television budget and to approach the real events that took place in the Atlantic in the second half of the 80s to the maximum extent possible. So it's not just pop culture entertainment, but a realistically portrayed film. To a large extent, it is similar to K-19: The Widowmaker, with the difference that the latter had a bigger budget and a more star-studded cast as a spectacle intended for movie theaters. Americans are, of course, better and always one step ahead, but the screenwriter did not refrain from inserting some critical jabs at the militaristic mindset of high-ranking officers. In terms of acting, it is a solid film, and both main actors belong not to the star category, but to the forefront of acting. Overall impression: 65%.

I do not want to have unnecessary prejudices, but in a way, this is a typical Czech commercial television product. Originally, it was supposed to be a comedy, but it lacks truly funny dialogues and gags, so it remains some kind of romance, which, however, suffers from the puppet-like characters that are very superficially drawn. A woman like Veronika played by Klára Issová does not even exist in reality, and the same applies to her criminal boyfriend Václav. But what was mentioned above is true - they are too unfunny to be caricatures, so it feels more like an embarrassment. The actors for the most part overreact, partly because the script dictates it, but also because they are poorly directed, especially Lucie Vondráčková. The only civil performance was possibly the character of the American musician... Objectively speaking, I give it about 1 and a half stars, but I have no reason to support this kind of production. Overall impression: 25%.