Stometer Save your money for something good and enjoyable

Actuakers One of my all time favorites.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

JohnHowardReid Director: EDWARD CLINE. Screenplay: Tim Whelan, Ralph Spence. Story: Tim Whelan. Additional dialogue: Bobby Clark, Robert Woolsey, Myles Connolly. Photography: Nick Musuraca. Film editor: Archie Marshek. Art director and costumes for Misses Lee, Howland and Moorhead: Max Rée. Music director: Max Steiner. Assistant director: Fred Fleck. Sound recording: Hugh McDowell. RCA Sound System. Associate producer: Myles Connolly. Producer: William LeBaron. Copyright 15 December 1930 by RKO Radio Pictures, Inc. New York opening at the Mayfair: 24 December 1930. U.S. release: 26 December 1930. 75 minutes. SYNOPSIS: With an eye to the carriage trade, two sharpies re-open a rundown resort hotel in Florida. COMMENT: Although hampered both by director Eddie Cline's rather static early talkies' technique and a rather unevenly paced script with gags flying thick and fast being suddenly replaced by ho-hum turns of the straight and narrow plot, this is still a highly watchable Wheeler and Woolsey. The biggest disappointment is the complete absence of musical numbers (aside from the welcome intrusion of an orchestral dance band). On the other hand, the comic capers are splendidly re-inforced by Hugh Herbert and George F. Marion (of all people!), with a nice assist from both Jobyna Howland and Natalie Moorhead when they finally get into stride. A minor problem is the complete absence of background music which often gives the effect that the comedians are playing in an echo chamber. Production values are top-drawer. Rée's vast hotel set is a wonder to behold. AVAILABLE on DVD through Alpha. Quality rating: Nine out of ten.

Cristi_Ciopron An Absurdist comedy with Wheeler, Woolsey and Natalie Moorhead, it has all the luridness of a farce, funny dialog and a lavish shootout, made in an age when the right idea of humor didn't even seem extraordinary, but usual, customary. From a sociological standpoint, this defines a healthier society. Shows like this are as characteristic and as endearing as 18th century stage plays.The two entrepreneurs, Mary, the Duchess offer fun to every scene they play. Likewise, the blasé receptionist, and the detective is a running gag.The comedy's sense of fun is endearing: always harmless, without ever being tasteless or offensive.Music hall, variety, vaudeville, revue, these are the school of this knowledge of how to be keen and gentle in an unassuming craft. I cherish this comedy. And maybe so do others.It was a good idea to top a comedy with an extravaganza: efficient, here (the machine-gun and the shootout), less so, in a comedy with O'Brien (the boxing match).

F Gwynplaine MacIntyre 'Hook, Line and Sinker' is the very generic title of this very generic comedy, starring Wheeler & Woolsey, who are very nearly the most generic comedy team of all time. (That dubious honour goes to the Ritz Brothers.) I consistently enjoy watching Wheeler & Woolsey, yet I frankly find them neither very good nor very original. Whenever Robert Woolsey pitches woo to some rich dowager (as he does here, to Jobyna Howland), it's impossible to avoid thinking of Groucho Marx flirting with Margaret Dumont ... and Woolsey suffers by comparison to the great Groucho. Wheeler & Woolsey are very similar to the much later British comedy team Morecambe & Wise ... but I doubt that Eric and Ernie deliberately imitated Bob and Bert. Wheeler & Woolsey also remind me of their contemporaries Clark & McCullough, with Robert Woolsey sometimes seeming to do an outright imitation of Bobby Clark.In 'Hook, Line and Sinker', Wheeler & Woolsey make their entrance riding a two-seat tandem bike; this immediately reminded me of the British comedians the Goodies, who rode a three-seat tridem (which is funnier). More importantly, the Goodies got a large number of gags from their trademark tridem, whereas Wheeler & Woolsey abandon the tandem after its initial appearance. This seems to be the biggest problem with Wheeler & Woolsey: their inability to milk and develop a gag. In one of their films, W&W did a routine very similar to Abbott & Costello's 'Who's on First' (BEFORE Bud and Lou did it), yet they failed to develop this premise as richly as Bud and Lou would use it later. In fairness to Wheeler & Woolsey, part of their problem was their gag writers: most of the scripters who wrote material for W&W were concurrently also writing gags for the Marx Brothers, and the Marxes got first pick of all the best material ... lumbering W&W with literally the leavings. At one point in 'Hook, Line and Sinker', the soundtrack plays Kalmar and Ruby's hit song 'Three Little Words', reminding me that Kalmar and Ruby (who worked closely with the Marx Brothers) wrote the best gags for 'Hips, Hips, Hooray!', which is almost certainly Wheeler and Woolsey's funniest film: it features two delightful songs as well as some ingenious sight gags.'Hook, Line and Stinker' ... sorry, 'Sinker' ... seems to borrow half its plot from the Marx Brothers' previous film 'The Cocoanuts' and its other half from the Marx Brothers' 'Monkey Business', which actually hadn't been written yet when this movie was made. Bert and Bob are briefly insurance salesmen who chuck it to help Dorothy Lee run her hotel. As luck would have it, the hotel is also the secret hideout of some bootleggers, who check into the hotel with some luggage from the Acme Machine Gun Company (a name you can trust).Dorothy Lee was Bert Wheeler's perennial love interest in these movies. Here, she's more annoying than usual, speaking her dialogue in a high-pitched squeal that (unfortunately) matches the annoying voice that Wheeler normally uses for his own gormless character. Their dialogue scenes in this movie sound like chalk on a slate. Bert and Dorothy do have one very amusing scene in which they flirt by pressing keys on a cash register; unfortunately, the photography is too dim for us to see that Dorothy is pressing the "NO SALE" key. (Or is this just down to a badly-processed nitrate print?) Throughout this film, the photography features undercranking at oddly-chosen moments.Amazingly, the funniest performance in this film (as a precognitive bellhop) is given by George Marion Snr, whom I usually find unbearable. I was also impressed by Hugh Herbert, who made this film before he developed the annoying "woo-woo" finger-patting routine that would ruin his performances in so many later films. Natalie Moorhead is amusing as an ersatz duchess whose Continental accent keeps coming and going, while William B Davidson plays a counterfeit duke who doesn't even bother attempting a phony accent.A few decades after this film was made, Jerry Lewis recycled the title 'Hook, Line & Sinker' (he preferred an ampersand) for one of HIS worst comedies, which at least had the tiny merit of (very) vaguely having something to do with fishing. In this Wheeler & Woolsey film, the title's utterly irrelevant. (Yes, I know that it's an American figure of speech roughly equivalent to 'the full monty'.)'Hook, Line and Sinker' is one of the weakest Wheeler & Woolsey films, and not a good introduction to Bert & Bob for audiences who have never seen this team before. Your introduction to W&W should be 'Hips, Hips Hooray!' or 'So This Is Africa', or even 'Rio Rita' or 'Dixiana'. I'll rate 'Hook' just 4 points out of 10.

didi-5 The downside of this movie, one of the early collaborations of Bert Wheeler (the sweet curly-haired guy) and Robert Woolsey (the cigar-chomping wise guy), has one major failing for me: no musical numbers! I think this is the only one of the their nine-year series at RKO not to have even one song, and I missed that.Anyway, the film is pretty much on-form. The boys play insurance agents who go into the hotel business after meeting heiress Dorothy Lee (I think this is her weakest performance, far too stilted to make any kind of good impression on the viewer). The hotel she has inherited is a wreck but they soon make it good (how we don't see) and attract the attentions of some jewel thieves. Dorothy's mother (the large and booming-voiced Jobyna Howland) and her intended (the urbane Ralf Harolde who played a similar role in the earlier 'Dixiana') also arrive to thwart the plans made so far. In support are Stanley Fields, George Marion (as the oldest bellhop in the world), and Hugh Herbert (the sleepy house detective), and all are watchable.There are a few highlights amongst the set pieces, the noirish shootout at the end, Natalie Moorhead as the fake Duchess vamping the boys for the safe code, Howland's tales to Woolsey about her numerous previous marriages, and more. Good stuff, but that scene with Bert and Dorothy planning their future by the hotel till really needs a song!