All or Nothing

Ten years ago, Pavlásková tried to make a similar women’s film based on Nesvadbová, and today we get Ferencová adapting Urbaníková. In the film, certain transpositions are rather interesting. While the book protagonist runs an antiquarian bookstore in Bratislava, the film protagonist runs a bookstore in Prague. While Pavlásková made do with local actors, Ferencová got two Poles (with very bad dubbing) to play alongside the main character. She had the dolls Pauhofová and Issová dress up at least five times for each scene, and to make sure no one missed anything, she gave them a couple of gay men as friends. Is this still a Czech film? (10/05/2017)

I’m not sure who came up with the idea that an international cast could make up for a lame script, but it didn’t score any points with me. Listening to dialogue that had nothing to do with real life, and watching another crappy story was almost more than I could take. (01/01/2020)

I know, I know, the script is stale, some of the scenes are a bit awkward, and there's not much point to it either. But that's exactly what you need every once in a while. To laugh, to dream, and not to take everything too seriously. The acting is very well done by most of the cast. For example, Klárka Issová surprised me with her role. I welcome Ondra Sokol always, everywhere, and to any extent. There could have been more of him here. And then, of course, the superb Táňa. The soundtrack is also very nice. On the other hand, it's a pity about the terribly unnatural dubbing. 4 stars. (01/02/2017)

Is Czech filmmaking scene really so bad that producers decide to finance a movie that looks (and not only looks) like your typical Colombian soap opera? And that they drag Polish actors into it, who put in quite different performances in Polish movies? I mean going from Polish cinematography into a shitty movie like this is no easy thing. Czech filmmakers really have a lot to learn from our Polish neighbors. (14/11/2018)