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This American version of The Intouchables was, against all odds, ideally placed. They took a little film from the cheeky national cinema, threw out all the crap, and made it pure again. With no hiccups. Even so, it can create something great that will be a joy to return to. Yes, the American setting is more universal, and the mere presence of Kidman in a supporting role creates viewer comfort in the reunion.

Much changes in the second series of this window into the hypocrisy of the 1950s. The duo from Nicki und Freddy machen Musik just had a successful tour, are making a movie, and are fighting the demons of the past. Reality is intertwined with fiction, and it's truly successful at times to see what the film industry of the late 1950s looks like, with an old director capable of groping both mother and daughter, and of course memories of the conscious films of the Third Reich. Other demons are memories of concentration camps, homosexuality, denunciations between the West and the East... and single motherhood and marriage. There is much to explain, and much to experience. Nowadays, such a family would no longer hold together under any circumstances. But if we keep our fingers crossed, we'll find out how the Schöllack family steps into the 1960s in Ku'damm 63.

Haas' American version of Pickup is similarly interesting to Lamač's English version of It Happened One Sunday. Both of them brought themes to emigration from their homeland, which they had not participated in themselves in Czechoslovakia, but of course, they understood the substances very well.

Whatever the original idea was, the normalization adaptation of Pujmanová's last completed novel is, simply put, weak. The economical text of the book wasn't enough for the contemporary filmmakers at Barrandov, they changed practically everything and turned a women's mature novel into a patchwork full of hospital corridors and the passenger seat of a car racer…

Renč's version of the film is fortunately quite different from the previous adaptations by Rovenský and Haas. We can find differences on all levels, from the setting in the winter landscape, the accentuation of the fighting in the trenches to the completely differently portrayed relationship between the Douša family - even their elder son is missing and the spaces of the inn and the cemetery are very important. The merchant became a gravedigger and the aged minister got a lot of space. Yet the main motif remains, as well as the oppressive atmosphere, but the motivations of the main characters' actions are more akin to today. The morality of the true rural people of the 1920s is now incomprehensible to the wider world. In addition to the beautiful images, the film also offers excellent performances by Roden and Vladimír Dlouhý, but unfortunately, their teammates Siposová and Jiráček are very weak. Siposová at least managed to be stylized, but Jiráček never became a real actor, although he had many opportunities to do se.

Looking at the fact that this is the first film based on Pujmanová's 1931 adaptation of the novel of the same name, winner of the 1937 State Prize, one might dismiss the fact that, from another perspective, it was in fact a routine continuation of the acting pairing of Korbelář and Mandlová. They had already worked side by side to create the main characters in The Innocent Girl (1939) by de la Cámara. Korbelář had already proved himself as a doctor in The Golden Man (1939). And in this film, we do find many echoes of these older films. The young Svatopluk Beneš is tender as the unhappy fiancé, the older-generation actors are all wonderful, from Baldová to Šlemrová, while Svozilová is routine and perfectly cold, and even the supporting role given to Zorka Janů is not bad. But the title role, given to Mandlová at a crucial time in her film maturation, seems to have taken her somewhat by surprise. She is almost unbearable in about half of the scenes, and one cannot really speak of her being considered the only modern actress of her generation.

An excellent first adaptation of Kopta's 1926 novel. It’s perfectly naturalistic thanks to the trio Glázrová/Průcha/Boháč. Years of problems with the copies may have destroyed the continuous awareness of the film, but this was amply redeemed by the new controversy over the trio of existing film transcripts (Rovenský was followed by Haas and Renč). While the question of morality, guilt and forgiveness brings this original view of Watchman No. 47 back to Klecanda's Father Vojtěch, as a whole it is extremely powerful. Only today's time is inevitably distant and must be interpreted with caution.

More super cute adventures of Vee and co. This time, among other things, they get a little Nosferatu (or Nosi) to look after.

Vee has adapted quite well to the habits of her human friends, but she still manages to scare them rather than entertain them.

A magical introduction to a new gently spooky series from Disney Junior. We meet the title character and see her adaptation to her new environment. After all, Transylvania is not the same as Pennsylvania. The second (half) episode is also excellent, with the theme of a haunted hotel in the home of a vampire family.