A family purchases a home robot designed to look like a grandmum. Their neighbours immediately buy a more expensivve model as the two families always try to up the other one. Both grandmums start to "terorize" their families because they were set up to ensure the mums exercise, the kids study etc. Apart from that they start causing problems to the other family ... cut ropes with hanging clothes, pierced tires, etc. Once they get to killing each other family's pets the parents get really worried about the safety of their kids. The grannys later destroy each other while fighting and the families decide that they'll be better off without any robots. (It's some time since I saw this so the details may be off.) Mainly thanks to the design of the robots it's rather a comedy than a horror. Unless you are ten. And a rather good comedy!

Thirty Cases of Major Zeman is a Czechoslovak action-drama television show intended as a political propaganda to support the official attitude of the communist party. The series were filmed in the 1970s. Each episode encompasses one year, and investigations are stylized to that year. Most are inspired by real cases. The series follows the life of police investigator Jan Zeman during his career from 1945 to 1975.

Pan Tau always had a gentle expression and a friendly smile, he was elegantly dressed in a stroller, with an umbrella and a white carnation in the lapel. Foremost, he was famous for his magic bowler hat. By tapping on his hat, Pan Tau was able to change his appearance into a puppet, to conjure up miscellaneous objects or to do other magic. His most characteristically behavior is that he would help children who were experiencing some sort of difficulties in-between their dreams and reality, like finding a place for skiing, settling family problems on Christmas, and even give a boy a good time at a fair when he is supposed to have piano lessons. To adults, he usually remained invisible.

Ordinary man making his dirty actions in the small town and his coming to the right side.

For nine-year-old Saša, the end of the Second World War is an adventure in which he and young neighbour friend Mařenka compete over who will spot the first Soviet soldier. But the boy causes problems when he lets two German snipers enter a house in which many families are seeking shelter. Fortunately, the inquisitive Saša also comes to the aid of Soviet soldier Váňa, whom one of the neighbours is accusing of stealing a pearl necklace.

A car deliberately runs down a young man on a road by a small border town. The locals recognize the dead man as one of the students who were there on volunteer work some time before. The police detectives, Major Kalas (Rudolf Hrusínský) and Lieutenant Varga (Radoslav Brzobohatý) can then get on the trail of the people with whom the victim was involved, especially at the photographic studio headed by Bohuslav Pacer (Bohus Záhorský).

A young boy from Prague is trying to find a Soviet soldier from the old 1945 picture.

Kam Cert Nemuze by director Zdenek Podskalsky is a routine farce that slowly builds up steam to some rib-tickling slapstick episodes. (Miroslav Hornicek) is a deluded young man who is convinced he is Faust incarnate. This turn of mind leads to some ludicrous situations, such as when he believes a woman is really a cat. Before he can be rounded up and interned wherever they keep people with this type of a problem, love enters his life and the clouds that obscured his vision begin to dissipate.

A film about a boy who is protective of a runaway dog and the dog, who is protective of the boy.

Leopold Kohák married a rich widow a long time ago and now has nothing to do compared to his energetic wife. He's growing old and troubled by the fact that he betrayed his first love Emča and his beloved river Sázava where he spent his childhood and youth. A visit from an old friend Lebeda brings it all back to him. After a nervous breakdown Leopold secretly visits his home instead of going to the spa. A wandering tramp suggest Leopold should bathe in the magical waters of the Sázava, and slowly his youth returns to him.

Mist on the Moors examines fates of just about a few people. Their stories are outlined in a short space of time and are a symbolic representation of the drama of life, struggle for justice, human cognizance and the healing power of love. One of the most important components of the film is the nature, which ceases to be a mere stage for its plot—it serves almost as an autonomous plot agent. The movie landscape is a precisely defined and localized one. Only the South Bohemian ponds can serve as the right environment for development of such earthy and typically human stories as we encounter in the Mist on the Moors.