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The best film by Miloš Forman, among those he created before leaving for America. At the same time, it is a sophisticated and disturbingly effective sarcastic allegory of real communism in the Czech environment. Filled with biting lines, humorous situations, excellent acting, and smart filmmaking that helped Forman make a name for himself internationally. "Move his bed closer to the fire so he can warm up." Despite the undeniable cruelty of many scenes, I really love this film. The foreign producer was once desperate about the selection of girls for the beauty queen contest, but evidently did not understand that the director was aiming for something entirely different. Overall impression: 95%.

The fundamental problem of the film is its cluttered, fragmented, and unbalanced script. On the positive side, the originality and humor of some scenes, as well as the appeal of certain bizarre characters and micro-stories, stand out. Overall impression: 55%.

This British endeavor teeters exactly on the edge between brilliance and absurdity. It's highly stylized and quirky, with actors overacting to an extreme, yet despite all this, it remains supremely funny and original. However, it's true that if the dialogues and characters were just a bit more eccentric, my rating would plummet. Overall impression: 90%. Arthur Bostrom's French, with his unforgettable lines, added an extra star to the series.

Well, it's not The Petroleum Lamps, but it's still a significant above-average work in Czech cinema and one of the best pieces by Juraj Herz, who had plenty of talent and creativity to spare at the time. Iva Janžurová is excellent in the main dual role and proves that she is not just a good comedian, but a top-notch character actress. The remarkable visual aspect of the film, which utilizes the rarely used Art Nouveau style, significantly contributes to creating a mysterious atmosphere. Ester Krumbachová did a great job... Overall impression 90%. An example of a film where the camera, sound, and decorations are in unique harmony.

For me, Dark Sun is the worst work in Otakar Vávra's filmography, and given the quality of the crew and the resources invested, it's one of the worst films of the decade. A piece of propaganda that formally imitates the original Krakatit but completely diverges from it in terms of its idea - it's a factually manipulative film that was politically favored and had an appropriately inflated budget. The actors were reluctant to join the project; for instance, Magda Vašáryová played the most embarrassing role of her film career and, incidentally, played it poorly. Overall impression 10%.

Hitler's Henchmen is a pinnacle of documentary filmmaking in terms of both content and form, and the series can be considered a benchmark for other documentary projects. It's a meticulous work; I didn't find a single flaw in the entire, extensive series. Guido Knopp has been systematically studying World War II and Nazi Germany for many years and is currently one of the best experts on the subject. Knopp relentlessly delves into the painful past of his country and does not shy away from even the most painful aspects. Overall impression 100%.

Unquestionably the best adaptation of a Kurt Vonnegut novel. An exceptionally strong film with an interesting premise, smart screenplay, and star-studded cast. For me, it's the best role featuring Nick Nolte. The film, and it's hardly surprising, failed hopelessly in the American market and wasn't particularly appreciated by film critics either. It's a tragicomic story of a man who sacrificed his entire life, his past and future, and even his personal identity in the name of a higher cause, namely victory in war, and ultimately, ironically, paid the price for it. Overall impression: 90%.

When something is done for the third time, you usually know how to do it well, and although the previous two films in the series were in no way bad, the third Indiana Jones represents the true pinnacle of this miniseries and, in a way, one of the peaks of its genre, the adventure film. It doesn't take itself seriously, which is extremely important, and at the same time, it has a sufficiently high budget, an imaginative screenplay that doesn't let the viewer catch their breath for even a moment, and a great cast led by the seasoned Harrison Ford and Sean Connery. The two complement each other wonderfully, resulting in a fascinating spectacle. The tank battle scene or the rescue in the underground labyrinth will remain in the viewer's memory for a long time. Once again, excellent music. Overall impression: 100%.

From a formal point of view, i.e., from the perspective of the film craft, there is not much to criticize about the film, almost nothing. It is an emotionally and extremely expensive blockbuster, which rightfully belongs in film history, especially with its opening 15-minute battle sequence. There could be endless things to say about Steven Spielberg's directing abilities, about how he can work with visual composition, build up a scene, and direct actors - and it would all be praise. However, what concerns me more is the formulaic script, the same problem I had with Spielberg's Schindler's List. When I compare this film to Klimov's drama Come and See, for example, I clearly feel Spielberg's superficiality. To label this film as just a popcorn flick would be grossly unfair, as there are incomparably worse films of its kind. It is undoubtedly an attempt at a serious war drama, but I fail to understand why Spielberg is not satisfied with real stories and real war history and feels the need to produce fiction. Sometimes the unnecessary pathos also bothered me, especially toward the end. Overall impression: 70%.

After elementary school, Jan Svěrák decided to take a risk and try out a substance that had not yet been tested in the Czech Republic, which was a genre mix between parody, comedy, love story, adventure film, and philosophical allegory. While The Elementary School is a stylistically pure retro comedy, which was written with certainty, Accumulator 1 had a difficult time finding an audience in the Czech Republic due to its genre ambiguity. This was partially due to the risky casting, which cast Petr Forman in the lead role, and his co-star was also an unknown actress in the Czech Republic. Additionally, at the time of its release, the Czech Republic was not sufficiently saturated with Hollywood action productions, which Svěrák evidently made fun of. The cosmopolitan film, to a large extent, unfairly earned a reputation as a weaker film both from critics and audiences. On the other hand, the film's budget and the technical aspect, which was especially demonstrated in scenes from a parallel reality behind a TV screen, are at a very respectable level. It is not a bad film, even if only for its originality and uniqueness among Czech films and the high professionalism of the screenwriter and director. Overall impression: 75%.