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This is a big post-revolutionary hit with Jiřina Bohdalová, which in its time was boosted by her performance in One Cat after the Other. Her work for television prevailed during the normalization period, and therefore every film she took part in seemed to be unique.

Traditional 1960s crap with no plot and all the trimmings that come along with it. It’s supposedly a comedy, but all the jokes stand and fall with Bohdalová's excessive amount of props and her drunken serenade (during Christmas) with Karel Gott and Jan Tříska. She met Karl Höger on the train to later connect with him in a music hall. Karel practiced his German only to be insulted that he couldn't speak Italian. The carnival continues in Karl's boudoir, with Bohdalová wearing his pajamas and him wearing women's pajamas. They then deny each other, although they both try to impress each other in skimpy clothing. But honestly, are these your sex idols? The ending at the town hall is unusually decorated with such returnees actors as Nesvadba and Gollová, meaning that there are absolutely no acting aces to be found, and they are here together with Chramostová only for a few shots. But if we are necessarily talking about an ace actor, we do get Ella Šárková in a cameo.

This is terrible, even though the cast wasn't completely bad - Kristen Bell is fine, Jean Reno is fine, Kristin Davis is fine, and Temuera Morrison is fine, but Couples Retreat is a disaster that nearly left me blind.

Karel Lamač, a jack of all trades, was, among other things, the founder of the tradition of adaptations of Schweik's adventures. He made the first two films of a four-part series from 1926 to 1927. There was thus no better author who could have brought Schweik into the modern struggle against Nazism. This film is a great comedy. Jan Masaryk has the opening speech and the story takes place in 1941 and begins in Prague. Schweik still lives with Mrs. Müller and, besides picking up various stolen goods, he is engaged in anti-Nazi resistance. He does so again, preferably at an inn, and we also get a sympathetic reminiscence thanks to the scene with Palivec and his careless handling of the leader's painting. Indeed, Schweik goes on to be imprisoned as a secret agent because he believes Dr. Goebbels' speech that 1941 was the end of the war, and with the stroke of New Year's Eve he breaks the blackout and celebrates peace. He then becomes a servant of the Gestapo boss and Mrs. Gestapo, at that time a theater artist. All this is saturated with plenty of perfect catchphrases and gags. The pace of the narrative doesn't lose steam even as Schweik travels with the suspended boss on a train and we liberate a train bound for a concentration camp. And it wouldn't be Schweik if he hadn't become a paratrooper thanks to a tarp from a milk wagon... The basic skeleton of the story thus remains the same, but it underwent Lamač's rejuvenation (Lamač was not only the director but also the co-writer and the author of the fabulous score), which was done to perfection.

This is one of the last classic 1990s shows. However, it's not very consistent. There are too many recasts that affect the overall story, and each series works in a downright solitary way. Originally, there were three sisters - Shannen Doherty, Holly Marie Combs, and Alyssa Milano. Then, Doherty was replaced by Rose McGowan and Kaley Cuoco also got involved. Julian McMahon used to be the sexiest of the male ensemble, shortly before he went on to do his own series Nip/Tuck.

Cougar Town has taught me that 40 is the new 20. It's Complicated taught me that even life after 50 is not a big deal. Yes, it's a Meryl movie, but it's primarily a women's movie, and I don't like Steve Martin. But that sexy, pot-bellied Alec Baldwin, that's something for me. Plus it's a fundamentally funny, erotic, immoral, and entertaining little film. :D And it doesn't even have to be sex with an ex.

In the context of Greta Garbo's career, Ninotchka works as her tried-and-true culmination, a film "for everyone." Unfortunately, it overshadows a whole range of much better films from this position. And it's really ridiculous to go into Ninotchka expecting to see Garbo laugh for the first time. Her laughter has been seen in silent and sound films before, my favorite example being from Queen Christina where she was beautifully natural. Indeed, this publicity stunt had its justification in its time, but why don't people laugh in unison when watching Two-Faced Woman? there again, there is the missing tooth of time and selective choice in all those pseudo golden lists (of world cinema). So let's just put all these crooked insights behind us and let's simply laugh at comrade Garbo studying a map at a tram stop and then, like a little child, letting herself be picked up with the use of a few female trinkets. They throw away the ideals of communism and understand that the midnight meeting of the hands on the clock face is the most romantic thing in the entire world. Melvyn Douglas became Garbo's lover a total of three times. The first time was in As You Desire Me (1932) and after his success in Ninotchka he was also recommended for her swan song in Two-Faced Woman (1941), which was to become Ninotchka 2, but Pearl Harbor put a stop to that. He's a good actor, he has style and humor, and I can imagine him in his underwear without blushing.

The Beastmaster series surprised me with its range of interesting side characters, but these were only discovered by those who could tolerate the dead weight around them. Dylan Bierk and Monica Schnarre were the standout witches.

After Sheena: Queen of the Jungle (1955) and Sheena (1984), this series features the last versions of the female Tarzan story. In particular, Steven L. Sears, who had been a prominent figure in the Xena series up to that point, got involved in the project. Otherwise, it’s a typical series that rode the wave of Xena, and after the compact initial series, there were only a few episodes in the second series. Personally, I was more looking forward to a guest star like Alex Tydings, but Gena Lee Nolin just didn't perform miracles.

Hellworld is, without exaggeration, an absolute delight. It’s Hellraiser excellently spliced with the self-irony poetics of Scream and other postmodern teen horror films. The drama builds beautifully, with Lance Henriksen and Katheryn Winnick giving excellent performances. It’s raw, and disgusting, but also smart and sexy. This is almost the best film of the series for me. The top three spots of my ranking are actually pretty even: Hellraiser 8, Hellraiser 5, Hellraiser 4, Hellraiser 7, Hellraiser 2, Hellraiser 6, Hellraiser 1, Hellraiser 3, Hellraiser 9.