Líbáš jako Bůh

You would have thought that the sentence “You kiss like a God" was a compliment. But, thanks to Poledňáková, we now know that this is a synonym for “you kiss terribly long, hopelessly boringly, absolutely without passion and please let me go right now - I would rather clean public toilets than spend one minute more in your company". (06.12.2010)

I guess I didn't expect it to be a great film, but it is still a disappointment for me. Poledňáková only plays at creating strange families, which function quite normally in her environment. If it weren't for the interesting actors carrying it, especially Bartoška and Kaiser, it would be almost unbearable to watch. But still better than the second part... (27.03.2017)

Perhaps I’m too young, or just overly conservative, but is it really normal to pass off divorce, infidelity, "marital vacations" and any number of other variations of warped partner relationships as the norm? I did not finish watching this. (13.11.2010)

The expected market of embarrassment is indefinitely postponed. The script presents a bit too many infidelities and the whole view of the matter is properly delusional most of the time, but surprisingly, I sometimes enjoyed the film with enough detachment. The main plot is mainly responsible for that, as it wants to say nothing else than that love blooms at any age and one can behave like a love-struck fool at any age as well. And when it's Oldřich Kaiser dusting off his comedic sketches on the screen as that fool, there is no reason to complain. A pleasant snack and a few relaxing smiles. (04.01.2011)

There are cases when in a collective some works gain in quality. For others, even that’s not enough, and so when the audience of six people from the age range of 24 to 78 was shown a screening, they all gradually passed out from boredom. True, we missed the key audience groups of a girl under 15 and a woman on maternity leave under 35, but even then the "people meter" was carefully filled. Marie Poledňáková has convinced us to no end that she is happy to watch anything from Rosamund Pilcher to "excellent" comedies with Hugh Grant, and she can unerringly translate these things into Czech cinema. She knows how to use proven technical methods and is not afraid to go to the tried and tested Western slow dances with the OST. But it is a mystery to me why this effort had to be decorated like a Christmas tree with every celebrity (and actor) who was relevant when this was made. Yes, it was interesting to bring an established, but unproven, Slovak actress into the Czech mainstream, but why all the excesses, starting with Arnošt Lustig and ending with Roman Štolpa? What the heck is happening when the best acting performance is by Lucie Bílá, who, in addition to singing the title song, adopted one day of filming gag for the closing credits? Of course, our love Eva Holubová, who will celebrate 30 years of playing herself next year, will become the unpleasant woman of the century. Good for her. (30.05.2010)