Directed by:
Jan HřebejkCinematography:
Jan MalířComposer:
Norbi KovácsCast:
Bolek Polívka, Jiří Schmitzer, Lenka Vlasáková, Miroslav Vladyka, Josef Somr, Vladimír Javorský, Petr Forman, Dalibor Vinklát, Mario Kubaš (more)Plots(1)
A poetic comedy set in a pub situated on an inlet and called At the Ferryman’s, which is run by pub-keeper Tonda and his companion Andula. Among the pub-goers is Kája, who compensates for his tendency to gamble (thanks to which is marriage is on the rocks) by playing cards at the pub with his friends. Besides his salary as a security guard at an art gallery, he has saved a pretty penny over the years by posing as a chimney sweep for newlyweds’ photos, and now he wants to use it to give his wife a long-promised seaside holiday, a promise which breathes new life into their relationship. But in a moment of weakness, Kája loses all of his savings playing the shell game at the marketplace. So as not to lose the rekindled love of his wife, he requests the help of his friends from the pub. Combining their forces, they eventually manage to slam the shell-game gang and recover his money. The whole experience has a profound effect on Kája, who learns a lesson from the scare, confirms his friendship with the others, and realizes just how important they are to him. (official distributor synopsis)
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Reviews (7)
Hřebejk, Jarchovský, and Šabach continue their narrative about the past decades to "document" a similar phenomenon of the 1990s to Holiday Makers. So now it’s about Shells. The film does feature some nice moments with the traditional cast, led by Polívka. Lenka Vlasáková has a nice etude on the topic of ecological cosmetics and Oriflame-style sales. There is probably some value in remembering this feature of post-revolutionary euphoria, but I dread what’s going to come next time. What other useless trifles will be promoted...
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This is a Czech heist movie that's exactly as small as you'd expect for a Czech basin, but it's enjoyable enough to keep you entertained. The actors do what they're supposed to do, they're entertaining, and the script gives them room to excel and is clever enough that I'm All Good can actually be described as a heist film.
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I’m All Good is all good with me too, despite the fact that the first half is a dragged-out nothing. The whole movie like that would have been unbearable, but luckily in the second half it flops over into a cute little Czech farce about an ingenious plan which, with its grubby tracksuits with a couple of thousand crowns in pocket at a dusty fair in Prague, stands up nicely even in the shadow of the neon lights and sharp suits of Ocean’s Eleven. We don’t have to enter into a long discussion about whether Polívka as Mrklas (read Mr. Class) boils a much tastier broth than the rest of the ensemble. That’s just the way it is. Too bad that they don’t go overboard on the humor front, it would have helped in places. The couple of flashes of comedy are about the best things in this movie. In school the word good was a synonym for average and, all told, I’m All Good is more than equal to its title.
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Yeah, me too. Nothing much happens in this film for fifty minutes (!), but it is beautiful to watch and I must admit that Hřebejk, thanks to the magical camera work of Jan Malíř, managed to create an amazing, almost Menzel-Hrabal-like atmosphere. This is essentially because as far as the plot goes, the horrendously long run-up is almost useless and, as entertaining as the individual episodes are, they don't really stick together and the story could do without most of them. When the plot finally reaches the promised deception and satisfaction, which the character of the excellent Bolek Polívka gets on that occasion, it even gets good momentum, and even though I didn't laugh to the point where I was holding my stomach, I was smiling almost all the time. A pleasant, not overwhelming and relaxing film with a fine cast.
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After the first act, I was cursing Jan Hřebejk for choosing such a painfully boring subject, but by the end I had forgiven him for all the suffering. The fact that he can pack so many lines, atmosphere, and tension into the final tens of minutes proves that the most productive Czech director of our time still has it, with a little effort, in any genre. He just shouldn't be trying to play God.
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