Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MartinHafer Most of Bob Hopes best films were made in the 1930s and 40s. Many of his later movies, to put it charitably, looked like he was just going through the motions...at best. Because of this, I had pretty low expectations of this film when I sat down to watch it...especially since he is 65 and is playing a sergeant! Were my instincts right? Read on...Sgt. O'Farrell is stationed on a small, out of the way island in the Pacific during WWII. While they don't see any action, they don't see much of anything else, as their supplies have been cut off and they are desperate for some female companionship. Suddenly, a transport plane makes it through and their wish is granted...of sorts. The 'woman' is Nurse Krause...and she's played by Phyllis Diller! As for the rest of the nurses...they're all guys! Inexplicably, Gina Lollobrigida just happens to be there. And, soon beer cans from a sunken supply ship start washing ashore...and suddenly morale improves tremendously. But the Sergeant needs to keep a secret....his partner who is helping him retrieve all the beer is a Japanese soldier (Mako) who has little interest in the war.So does all this sound very funny? No. And that's the problem. You would expect a Bob Hope film to be a comedy but barely anything even comes close to making you laugh and the biggest jokes(???) are about how ugly Diller is...and that really isn't particularly funny. As a comedy, it stinks...and as a war picture, it's not much either due to the strange plot, overuse of bad stock footage and an almost complete lack of anything exciting. A dud...but amazingly NOT among Hope's very worst films of the era, as he managed to be even more unfunny in films such as "How to Commit Marriage" (1969)....a film about as funny as Ebola.

Poseidon-3 They billed "The Loved One" as the film with something to offend everyone, but this one probably wouldn't fall too far behind to those of a politically correct mind set! Hope plays a US Army sergeant during WWII stationed on a Pacific island which is shared with the US Navy. When a supply ship carrying beer (!) to the island is blown up, he worries about the morale of the men and decides to ship in some pretty nurses. Unfortunately, he gets more than he bargained for in zany, fright-wigged Diller and decides to go back to hunting down the lost beer! He teams up with Navy lieutenant Hunter and a band of other misfit soldiers in trying to reclaim the many, many beer cans which are floating in the ocean and, in some cases, at the bottom of it. Meanwhile, Hope rekindles a love affair with curvy Lollobrigida and, in his spare time, manages to fight the war, almost inadvertently! Of course, it's a comedy, so not all the story points can be taken seriously, but it's really off-center. Set in the 40's, but with all the hair, makeup, clothes and attitudes of the 60's, it's mind-bendingly inaccurate throughout. Also, Hope's treatment of an American Indian soldier in the film is really pushing the limits of good taste. It's very bizarre that a film lampooning the military and featuring such lazy, beer-guzzling, inane soldiers as these could be released right in the middle of the savage and unsettling Vietnam War, but here it is. Still, despite these and other examples of thoughtlessness and idiocy, the film does have more than a few highly comic moments. Hope manages to toss off a few amusing zingers (along with the requisite insults to his old pal Bing Crosby!) Diller is pretty crazy and has a memorable entrance as Hope awaits the "lovely" nurses on an air strip. Hunter shows off a surprisingly energetic and adept comedic touch and is exceedingly handsome with his dark tan and crystal blue eyes. Mako turns up as a Japanese-American and does a nice job as well. Wilcoxon, as a commanding officer, is a long way from C.B. de Mille, but appears to be having a good time, in any case. Many familiar TV faces dot the cast of soldiers including "Bewiched"'s Sergent, "Mork & Mindy"'s Donner and "M*A*S*H"'s Christopher (virtually unrecognizable without his glasses and brogue.) Lollobrigida is unbelievably sexy in a sensational bikini and tries hard to bring a little verve to the film. To describe Demongeot's "role" as window dressing is an understatement. She hardly appears at all and says almost nothing. There's a surprising amount of beefcake on display, despite all the chatter about sexy nurses. Hunter appears in a large fig leaf in one amusing dream sequence and, curiously, Wellman performs virtually the entire film with no shirt on. Even Hope has a scene with his shirt nearly off! The humor runs hot and cold (and most of the story is preposterous, including Hope's big "catch" at the end), but as light entertainment it's not too bad (and it has the benefit of being shot mostly outdoors on some pretty beaches.) It's not for anyone who gets offended by stereotyping, though.

moonspinner55 Arguably Bob Hope's worst comedy (and that includes some heavy competition). Stuck on an island with sailors, Hope's Sgt. O'Farrell dreams aloud of being in a bathtub with a geisha girl "steering his ship." Somebody certainly steered this Hope-hackery over the cliff, as it features Phyllis Diller and Gina Lollobrigida and still can't work up any laughs or excitement. Frank Tashlin is to blame for the lax direction (he also had a hand in the screenplay, though I have no idea why he wanted the credit). Alan Stensvold's cinematography is an eyesore, and Hope has never seemed so square and bland. Where's Bing Crosby when you need him? NO STARS from ****

Stefan Kahrs Many people cannot stand Bob Hope and his mannerisms, and, to be honest, I am one of them. Most of his films are little more than an extended stand-up routine of his with mostly rather predictable jokes.But sometimes he pulled off a better film, like his Paleface movies, and this one here is even better - it must surely be the best film of his career, although most critics failed to notice it. Apart from having better jokes and a better cast than the usual Hope effort, this film even comes with a message. It is anti-racism and anti-war but it does not wear this attitude on its sleeves, it merely subverts it under the cover of slapstick comedy into the mind of the viewer. I'll be hard pushed to name another anti-war movie which brings across its message so effectively, and this is an amazing thing to say about a Bob Hope flick, given the stiff and famous competition in this field.