• Genre: Comedy, Drama
  • Release Date: 12/31/1969
  • Running Time: 110 mins
  • Director: Jan Hrebejk
  • Cast: Anna Geislerova, Roman Luknar, Jana Brejchova, Jiri Schmitzer, Emilia Vasaryova
  • Producer: Daria Spackova
  • Writer: Petr Jarchovsky
  • Distributor:
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Box Office

  1. Four Christmases, 31.1 million, 46.1 million
  2. The Dark Knight, 26.1 million, 441.6 million
  3. Pineapple Express, 23.2 million, 41.3 million
  4. Bolt, 26.6 million, 66.8 million
  5. Twilight, 26.3 million, 119.7 million
  6. The Mummy: Tomb of the Dragon Emperor, 16.5 million, 71.0 million
  7. Quantum of Solace, 18.8 million, 141.4 million
  8. The Sisterhood of the Traveling Pants 2, 10.7 million, 19.6 million
  9. Australia, 14.8 million, 20.0 million
  10. Step Brothers, 9.1 million, 81.1 million
  11. Madagascar: Escape 2 Africa, 14.2 million, 159.1 million
  12. Mamma Mia!, 8.2 million, 104.1 million
  13. Transporter 3, 12.1 million, 18.2 million
  14. Journey to the Center of the Earth, 4.9 million, 81.8 million
  15. Hancock, 3.3 million, 221.7 million
  16. Role Models, 5.2 million, 57.8 million
  17. WALL-E, 3.1 million, 210.2 million
  18. The Boy in the Striped Pajamas, 1.7 million, 5.2 million
  19. Swing Vote, 3.1 million, 12.0 million
  20. Milk, 1.5 million, 1.9 million
Movie Title, Weekly Earnings, Total Earnings

Beauty in Trouble (Kraska v nesnazich)

The center of Beauty in Trouble, Czech director Jan Hrebejk’s trying foray into soapy realism, is the kind of provincial hard-luck lass who shows boob at a funeral and sweetens sauvignon blanc with a dousing of soda pop. Marcela (Ana Geislerová) has crazy sex—and that’s about it—with her mechanic husband; mired in a circumstantial shitstorm, they struggle to repair the damage that a 2002 flood did to their home. Marcela is forced to move her two children in with her mother and stepfather Risa (Jirí Schmitzer), whose unremitting awfulness overburdens what dramatic momentum there is in the film. With her husband eventually thrown in jail for a desperate act of car theft, Marcela and her kids are subjected to Risa’s endless harassment; lording it over his grimy little fiefdom, he still turns on the obsequious sleaze whenever his wife is around. “We’re washed up, but they have a chance,” Risa opines when the wealthy man who falls for Marcela—despite the fact that her husband stole his car—offers to take her and the kids to his villa in Tuscany. The Velvet Revolution, it seems, left behind some serious chafing; a spiritual selfishness and scheming distrust permeate everyone but the kids and the expat. Unfortunately, Hrebejk settles for unsatisfying allusions to the Czech experience that never break through the thick haze of melodrama to make his case with any conviction. — Michelle Orange

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