Empties

In Svěrák’s loose “humanist" trilogy, Empties lies far behind The Elementary School, but far out in front of Kolya in terms of quality. This time, Jan Svěrák doesn’t try to show off his directing mastery and takes a back seat. So Zdeněk Svěrák has complete freedom and the question is whether or not this is a good thing. While his screenplay was outstanding as always, things are a bit “strange" as for his acting. His is believable in his role, no doubt about that, but something is simply wrong. On the other hand, I can sing nothing but words of praise for the actors in the supporting roles. Especially Macháček is truly good and isn’t just a caricature of himself, unlike his colleague Hřebejk. The greatest plus point for Empties is, apart from the atmosphere, the performance given by Daniela Kolářová who was afforded greater space in a movie for the first time in a long while. And she makes excellent use of it. The picture has an excellent beginning and ending, but the overall impression is spoiled slightly in the middle, especially around when he falls off his bike. That sort of thing shouldn’t happen with a director of Svěrák’s format. At this point, Empties shatters into a series of fragments of varying quality without any impact on the end result. (03/09/2007)

A guarantee of quality. Excellent script, excellent Svěrák in the lead role, but the best thing in the film is definitely Daniela Kolářová. It's amazing to watch her character nip every new idea of the protagonist in the bud, crush it and stomp it to the ground without even trying. I was royally entertained alike I am with every Svěrák comedy. It blows my mind how Zdeněk Svěrák can keep up such a high quality of writing for so long. 30 years after the premiere of Secluded, Near Woods, he has lost none of his genius. (06/27/2016)

It's worth a decent three stars, but I have to say that this time, Zdeněk Svěrák's "bitter" humor seemed a bit "tired" and unremarkable to me. Czech cinema is currently in decline and among various nonsense, the professionalism of the Svěrák family tandem naturally stands out, but seen from a broader perspective, it's nothing to boast about. The song by Jaroslav Uhlíř, underlining the nostalgic mood, will probably stick in my memory the most. Overall impression: 60%. (04/11/2009)

Czech film is not dead, and as long as Svěrák Jr. directs and Svěrák Sr. writes, it won't be. Whether their films are nostalgic or innovative, they are always universally appealing to audiences, and the same goes for "Lahví." For the creative duo, the character of the aging muleteer has become almost comically typical, guiding us through the corners of old age and rediscovering the meaning of life. They deserve a more generous running time that would allow Landovský, Budař, or Macháček to shine even more, as they are practically screaming for attention. It is a great pity that a poorly directed epilogue undoes the previous twenty minutes and almost erases it from memory. Bitterness simply does not suit the overall sentiment, and it would be better to let natural kindness prevail. (08/13/2007)

"Well, it's much easier, Helena. He was working extra hours at school because he could chat with the chatty Ptáčková in a tight sweater. And I taught with her, so I know what a bitch she is." Or the last great Svěrák-Svěrák film. Because what was to come in the next decade were just multiple epilogues. (01/03/2017)