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The most famous film from Michael Ende's treasure trove of fairy tales. Bernd Eichinger's famous production and the basis of a franchise that made the most of the original concept (including the theme park in Babelsberg). The view of the film itself changes with the knowledge that barely half of Ende’s work is used here. In the second half of the book, Ende becomes more philosophical and works with the motif of Fantasia in a similar way to how C.S. Lewis does in "Narnia".

The question is whether Double Feature can work as a gift for missing last season, among other things. The first story, Red Tide, is a pretty decent variation on the classic "family moves to a haunted house for new experiences, affecting their relationships and careers" situation. The novel admixture in this case is a kind of derivative of Nosferatu. Familiar faces have the opportunity to do something new again. The second half of the series is worse. The Nosferatu derivative doesn't have a compelling finale, and the second story, Death Valley, is an extreme oddity that benefits from the 50s and 60s phenomena, including Marilyn Monroe.

The year 1666 is a fine ending. 17th-century America is always interesting, and the legacy of stories from The New World are ubiquitous. It was nice, cheesy, and campy, with everything that it encompass.

The year 1978 is riding on the Friday the 13th wave, much like American Horror Story: 1984. It fits together nicely, the pace is fast, and the interest intensifies. It also has my favorite cliché of squabbling teenagers who were friends in childhood and new events force them to work together again.

In the 1990s, the books of R. L. Stine were the perfect choice for every teenager. They were published successively in various editions of "Silent Night", "Point Horror," or "Goosebumps", and today their popularity has faded, but the memories remain. His Shadyside Fear Street series was dominated by "Point Horror" for many years. It was always a safe bet, a mix of American high school horror with authentic characters that commanded respect, especially from younger readers. And while Netflix hasn't managed the faithful adaptation of the Betrayal-Mystery-Fire trilogy that I was hoping for, they offered much more in this film trilogy. A comprehensive tribute to the best themes from Fear Street in a new story. All the clichés work, the teens are written brilliantly, and the different eras respond beautifully to the trends of the time. The year 1994 surprises with a great drama between Shadyside and rival Sunnyvale. Everything is progressing in the style of the Scream pentalogy.

It’s not a successful episode, but rather a retrospective look into the now-defunct Luděk Sobota's Ridiculous theater and the events that followed.

The Munsters phenomenon stands and falls with the quality cast of this original series. That is why all subsequent attempts at revival have had less success. Unlike The Addams Family, for example, where the characters are always more in the forefront and the actors, while important, are also secondary. Fred Gwynne and Al Lewis have had many opportunities to hone their flair for television comedy on Brenner, The Phil Silvers Show, and Car 54, Where Are You?, while the great Yvonne De Carlo offered television her experience from a 25-year film career. The chemistry between the various members of the Munster family is excellent in both series and is still fondly remembered by viewers today. Which is something that not every show is able to do. The end came rather abruptly after an excellent 70 episodes (one reason for this could be the emergence of the series Batman), so fans were relieved to see the colorful film Munster, Go Home! (1966), returning years later in The Munsters' Revenge (1981), and finally, they got a cameo from the surviving gang consisting of Yvonne De Carlo, Al Lewis, Butch Patrick, and Pat Priest in Here Come the Munsters (1995).

It's a magical affair. A classic family of monsters experiencing true American problems. The coexistence of several generations, the joys and sorrows of everyday life. But there's a catch - the monsters have their hearts in the right place... although the grandfather is a vampire, his daughter married Frankenstein's monster and they had a werewolf. They live together with a "normal" blonde (two actresses have taken turns in this role and were not even noticed by the audience at the time) and resist the seductions of modern consumerism. The films do a great job with horror styling, music, and especially humor. Lily and Herman are a fairly normal couple. She is a housewife and keeps the family hearth warm, he regularly bickers with his father-in-law (he'd like to finally finish reading "The Murders in the Rue Morgue"), and in his sheer naivety dreams of a career change. Grandpa is always talking about the old world and is quite inventive. Through the schoolboy Eddie, the family is introduced to various modern trends, such as the belief in life on Mars or family holidays in nature. The outside world reacts to the Munsters in different ways, the wise understand, while others faint in horror... In the 1960s, family sitcoms drew on the tradition of Lucille Ball's series, and a key show in shaping the new television genre was 1951's I Love Lucy. The progress of each decade was evident, especially in such a creative world as that of the Munsters. Black and white television was never more fun.

Old-timey comedy based on Bogdanovich with Barbra Streisand in the style of screwball 1930s and 1940s combined with Looney Tunes and Merrie Melodies. Swapping suitcases, a wrecked hotel room, a half-naked protagonist on a window ledge, a crazy chase, and a lawsuit at the end. Everything is familiar, has been seen many times, and it’s just reinterpreted in a 70s style with great exteriors highlighting the beauty of San Francisco. Loosely based on the novel "A Glimpse of Tiger" (1971) by Herman Raucher.

A randomly discovered Israeli film with Gal Gadot from the time when she had already filmed three The Fast and the Furious films. It's no coincidence that her photos and individual scenes from this film are making global fans go wild, because there's just something about the cheap styling. Not every actress can play a mobster's girlfriend without losing her dignity.