input: This movie is all ultra-lightweight fluff, predictable from beginning to end. As a Don Knotts vehicle, "The Incredible Mr. Limpet" was much better, with Knott's character there not nearly as incompetent or ignorant. His performance there was toned down, with none of his trademark goggle-eyed stare, although that may have something to do with him being replaced for most of the movie by a cartoon fish. Knotts made a living of playing the likable imbecile, much as Bob Denver did. Neither really seemed to be able to break out to other types of roles, assuming they were simply typecast. It was probably because of the slouch, the wild stare and the high-pitched voice. John Ritter, whom Knotts worked with in "Three's Company," was able to transcend his genre, branching out successfully into dramatic roles like "The Dreamer of Oz," but the closest Knotts ever got was a small role in "Pleasantville." Even Leslie Nielsen was a bad fit here, uncomfortably neither straight dramatic actor as he was at the time nor deadpan comedic actor as he later became in "Airplane!" and "Police Squad."

There's also no way the then-43 year-old Knotts could pass for a 35 year-old, as his character insisted he was. It was as ludicrously unbelievable as Tom Hanks at 38 playing the college-age Forrest Gump.

The film was clearly made on a shoestring budget, very much looking like a hastily-filmed TV episode. It's especially evident in the "exterior" scenes of the "town" where Roy goes after he's fired. It's unlikely even a pre-schooler would be fooled by the Mayberry-like soundstage artificiality.

Even viewing this strictly as a children's movie, it's very disappointing. It's not because it lacks action or special effects, although it does. The pace is much too slow, the situations repetitive. How many times can you watch Roy getting onto a bus? A comedy for kids should at least sometimes be madcap, with breakneck gags, otherwise you risk boring them (and any adults in the theater as well). Movies, even kid's movies, have improved quite a bit in the intervening decades. Even many contemporary comedies were better filmed and written. Disney's "The Love Bug," for instance, at least had some interesting race action.

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input: I remember the first time I saw this movie -- I was in the office working over the weekend & the TV was on for background noise. But I gradually found myself more & more engaged in this movie I'd never seen or heard of, until I was completely absorbed. A Matter of Life & Death (the British title -- Stairway to Heaven in the US) is delightful, compelling, whimsical, & moving, all in one superbly-written, well-acted, perfectly-directed package. It's a classic that really does rank right up there with Casablanca, It's a Wonderful Life, Gone With the Wind, Citizen Kane, & Chariots of Fire. WHY has it never received the same public notice & video-store prominence? Fortunately, SOME knowledgeable critics HAVE put it on their "Top 100 of all time" lists. There IS hope -- 1940's Fantasia wasn't a hit 'til the '60s, & the Wizard of Oz was a dud at the box office, but made a hit by TV. Buy it -- rent it -- watch it -- demand it! You WON'T be disappointed!

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input: Twin brothers separated at birth (Due to the deaths of their parents) reunite twenty five years later to avenge their parents and take back their million dollar tunnel. Double Impact runs at two hours long and basically adds no real approach to the Corsican Brothers plot and Jean-Claude Van Damme while adequate as the evil twin brother is just embarrassing as the good twin brother. Also the action sequences aren't as exciting this time and Jean-Claude relies more on gunfire then on his martial arts. Also the supporting cast is wasted and at two hours the movie is just plain dull.

* out of 4(Bad)

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input: I went to a screening of this movie and while it had a couple moments that made me laugh, it had some very major flaws. It first of all presents itself to be the humorous exploits of a real-life divorcee trying to find love in LA. What it morphs into is a depressing, narcissistic, and unfunny romp through the history of the film director's love life and professional life. Jokes wear thin quickly and you find yourself suddenly not caring how this man's dates progress. The ridiculousness is that the director simultaneously presents himself as an extremely annoying and heavily flawed character and then expects us to be concerned.

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negative