input: I first saw this film in 1980 in the midday movie spot. After many subsequent viewings (and purchase of the video) it still makes me laugh out loud.

Yes, it's a relic of another age - a domestic comedy set in affluent middle class America - but well executed is well executed. But it's also a document of its age - a celebration of post-war optimism, the baby boom and the nascent consumer age. This film is no "guilty" pleasure.

Three wonderful sophisticated leads actors - urbane Melvyn Douglas; bemused Cary Grant; daffily determined Myrna Loy - complement each other and a memorable team of characters.

My favourite scenes - "It means we gotta blast" and "Miss Stellwaggen" and "This little piggy".

Love it.

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pos/neg ans: positive

input: For a comedic writer, Woody Allen really lets the paying viewer down with this meager attempt at character development. There are a few entertaining moments, but no more than one would have listening to their dryer tumbling tennis balls.

Will Ferrell wastes his time in this movie which fails to showcase his usually funny delivery. Amanda Peet did well, but again, didn't have the room to move in this otherwise corpse like movie. The movie is so heavy and dull that it cannot be carried but if it were carried, Radha Mitchell did it.

If you enjoy movies that go on and on in one scene and don't really accomplish anything but to show that their writer can write a few lines of snappy dialogue on occasion, then you'll love this movie.

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pos/neg ans: negative

input: Crude, some times crass - to me that's the summation of Madhur Bhandarkar's latest work - Page 3. He has no point of view - just shallow, funny digs at stereotypes. What is the movie about?? Is it about reporting a clan of people (so called Page 3 types) who are so busy socializing and progressing their profiles in life - that they have no time for anything else. And you are either in it or out of it. Is it that there is no press at all to report everyday incidents. Madhur Bhandarkar forgets that there is a main newspaper and Page 3 is just a supplement; perhaps an entertainer for checking out who's who and what's what. Don't mix the two. And then there is power play - that would happen in every walk of life. So what have you told at the end of it all - nothing - just a few crude jokes strung together in an otherwise direction less movie.

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pos/neg ans: negative

input: Hollywood Hotel was the last movie musical that Busby Berkeley directed for Warner Bros. His directing style had changed or evolved to the point that this film does not contain his signature overhead shots or huge production numbers with thousands of extras. By the last few years of the Thirties, swing-style big bands were recording the year's biggest popular hits. The Swing Era, also called the Big Band Era, has been dated variously from 1935 to 1944 or 1939 to 1949. Although it is impossible to exactly pinpoint the moment that the Swing Era began, Benny Goodman's engagement at the Palomar Ballroom in Los Angeles in the late summer of 1935 was certainly one of the early indications that swing was entering the consciousness of mainstream America's youth. When Goodman featured his swing repertoire rather than the society-style dance music that his band had been playing, the youth in the audience went wild. That was the beginning, but, since radio, live concerts and word of mouth were the primary methods available to spread the phenomena, it took some time before swing made enough inroads to produce big hits that showed up on the pop charts. In Hollywood Hotel, the appearance of Benny Goodman and His Orchestra and Raymond Paige and His Orchestra in the film indicates that the film industry was ready to capitalize on the shift in musical taste (the film was in production only a year and a half or so after Goodman's Palomar Ballroom engagement). There are a few interesting musical moments here and there in Hollywood Hotel, but except for Benny Goodman and His Orchestra's "Sing, Sing, Sing," there isn't a lot to commend. Otherwise, the most interesting musical sequences are the opening "Hooray for Hollywood" parade and "Let That Be a Lesson to You" production number at the drive-in restaurant. The film is most interesting to see and hear Benny Goodman and His Orchestra play and Dick Powell and Frances Langford sing.

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negative