3Grapes (3Bobule) – Martin Kopp, 2020

You can watch 3Grapes (3Bobule) HERE with our View on Demand partners Eyelet

The cinematic threequel is often a recipe for disappointment. The Jaws series had already jumped the shark before the third instalment fouled the water with its cheesy 3D money shots. Francis Ford Coppola waited 16 years before giving us a belated conclusion to The Godfather trilogy – it was an offer everyone was quite happy to refuse. Alien 3 has its defenders but it basically poured cold water over Ripley’s heroics in James Cameron’s rip-roaring second film, turning the franchise into a massive bummer.

Of course, there are some great ones too. Return of the King completed the coronation of Peter Jackson’s Award-festooned adaptation of The Lord of the Rings. On the indie circuit, Before Midnight capped off Richard Linklater’s much-loved trio of romantic walk-and-talks, while in the arthouse field Red was a magnificent conclusion to Krzysztof Kieślowski’s Three Colours trilogy.

So what would happen with 3Grapes, shuffling into theatres in the summer of 2020 after a false start due to the Covid-19 pandemic, eleven years after the previous film? Would it manage to recapture the light and fluffy chemistry of the good-natured original, or maybe carry on trying to raise the stakes like its woeful sequel?

The good news is that it certainly gets closer to the gentle comedy-drama of the first movie, but the attractive trio of central characters are now older, wiser and sadder, giving the film a more bittersweet feeling. Which is something to be thankful for after the lame shenanigans of part two.

We pick up with Honza (Kryštof Hádek) and Klára (Tereza Ramba, née Voříšková) in Prague where they are picking up an award for their wine at a swanky ceremony. They are now the parents of two bright-eyed, mischievous tweens and have another kid on the way. Our formerly wayward hero has fully committed to the role of the hard-working vintner and respectable family man.

Yet before the credits have even rolled, his incorrigibly dodgy old pal Jirka (Lukáš Langmajer) has crashed the party disguised as a waiter to steal the first prize from another winemaker (Karel Roden in a blink-and-you’ll-miss-it cameo) and bring more trouble into Honza’s life…

Jirka once again heads to the South Moravian wine country with his best friend, this time with his mopey teenage son in tow, to find that domestic tensions are getting the better of the once happy couple. We learn that Klára’s father passed away a few months earlier, leaving her with a sizeable vineyard to manage, and the pressures of running a business and a family are putting a strain on their relationship. Money worries are piling up and there is a grape thief about, adding to their woes.

Jirka claims to be a famous land developer and has an answer to their problems, coming in the form of his “business partner” Miro who wants to buy up all their wine. We can tell he’s trouble right away because he rides into the movie on a black motorbike and wastes no time trying to seduce Klára. Needless to say, he has dastardly motives and a terrible hold over Jirka…

There is also another new character, an attractive, highly motivated South Moravian cop played by Lumíra Prichystalová. She is a little like Simon Pegg’s character in Hot Fuzz – a big fish in a small pond, wanting to catch bad guys while her bumbling partner just wants to catch a few Z’s. Unlike PC Nicholas Angel who is introduced with a snappy montage, Prichystalová is introduced by a gratuitous butt shot. Once that is out of the way, she acquits herself nicely as a sympathetic and intelligent police officer on the case of the grape thieves.

Regarding performances, the central trio of Hádek, Ramba and Langmajer all seem far happier and more engaged than they were in 2Bobule, and the screenplay is much kinder to Ramba this time around. In the previous movie, she was reduced to a nagging girlfriend stereotype, but she has much more to do here. We really feel for her, as a pregnant woman coming to terms with the loss of her father while financial troubles weigh heavily on her.

Grapes demands to be seen by absolutely no-one, but harking back to the character-based comedy-drama of the original film is a modest return to form for the lightweight franchise. As with the previous two movies, there are plenty of sunkissed scenic shots of the landscape around Pálava, which I found unexpectedly poignant after a year when most of us have spent a good deal of time stuck indoors thanks to the Coronavirus.

Perhaps that is the appeal of the Grapes movies. They are no great shakes dramatically, comically, narratively or cinematically, but they are comforting, reminding of us of good days spent outdoors with friends and loved ones, drinking wine or beer, enjoying a warm breeze and the sun on our upturned, smiling faces.


This article was originally published by the Prague Daily Monitor.

You can watch 3Grapes (3Bobule) HERE with our View on Demand partners Eyelet.









3 Seasons in Hell (3 Sezony V Pelke) – Tomás Masín, 2009

Hadek in 3 Seasons in He'll

My curriculum was packed with boring subjects when I was at school. Maths was always a chore, chemistry was just soul-crushing, and history was the biggest snooze. For three years we sat in the same brown dusty classroom full of brown dusty books, listening to the teacher drone on. He was a pale gingery man who resembled the Gestapo agent in Raiders of the Lost Ark, and always wore a brown suit that looked like it was tailored from a rest home carpet. We only ever seemed to study World War I and II, without ever finding out any of the larger context surrounding the conflicts.

It was only after I left school and started reading up on things by myself that I came to wonder: how does anyone make a subject like World War II boring? On paper, it’s like the synopsis of the greatest, most exciting war movie ever made. I realized that it wasn’t the subject that was boring, it was the teacher. It’s the way you tell ’em, I suppose.

On paper, 3 Seasons in Hell sounds like pretty suspenseful stuff. Opening in 1947 Czechoslovakia, we follow a young nonconformist poet who falls in with a Bohemian crowd, just as the Communist regime seizes control of the country and starts clamping down on intellectual and subversive activities that don’t suit their agenda. Our arrogant young hero soon finds himself in increasing danger…

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Jan Werich’s Fimfárum (Fimfárum Jana Wericha) – Vlasta Pospíšilová and Aurel Klimt, 2002

Fimfarum Jana Werich
One ČSFD (Czech IMDb) reviewer reports that the lesson they learned from watching Fimfárum Jana Wericha is the following: if you’re a drunk unable to provide for your family or take care of your farm, offer your son to the devil and then use a homeless woman to get him back. And they’re not even reading anything into it. 
Buy Jan Werich’s Fimfárum from Amazon HERE

Fimfárum is one of those strange collections of stories that don’t like simple answers in life. The original book, written and later recorded on tape by Jan Werich in the 1960s, included 21 fairy tales, most of which are absurd or downright bizarre. The 2002 film adaptation didn’t have an easy task translating the light humour, ambiguous moral messages, and beautiful use of the Czech language to the big screen, but they nailed it!

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Ghoul (2015) – Petr Jákl

Found Footage Horror "Ghoul"

This is the blurb on Netflix for Petr Jákl’s Ghoul:

“Three filmmakers investigating a story about cannibalism during a 1932 famine find themselves trapped in a haunted house after conducting a seance.”

Holy shit, I thought, this movie has it all… cannibalism! a haunted house! Seances! Directed by the action-packed former stuntman who gave us the hugely enjoyable Kajinek! How could I refuse?

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Unfortunately, despite its lurid premise, Ghoul doesn’t hit the spot quite as well. Jákl’s everything-including-the-kitchen-sink approach that worked so well in his wrongly accused hardman thriller works to the detriment of this by-the-numbers found-footage horror, bogging the movie down with evermore plot when we should be getting to the scares…

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Witchhammer (Kladivo na čarodějnice) – Otakar Vávra, 1970

An innocent burnt at the stake in Witchhammer

“A woman’s womb is the gateway to Hell,” whispers a rabidly fanatical monk at the beginning of Otakar Vávra’s Witchhammer (Kladivo na čarodějnice), while we cut away to watch a group of women bathing nude.

It’s a provocative opening and, although Vávra had the Communist show trials of the 1950s in mind while making the film, it sets out its stall early: the problem is the patriarchy, and sexual repression goes hand-in-hand with political repression, a theme that is as depressingly relevant fifty years later. Or 300-odd years on from the events of the film. Same as it ever was.

Witchhammer Blu Ray

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The film takes its title from the Malleus Maleficarum, a weighty 15th-century tome that details at length the procedures deemed necessary for dealing with witchcraft, including the methods of torture that were legally permissible for extracting confessions from the accused…

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