TrueJoshNight Truly Dreadful Film

Matcollis This Movie Can Only Be Described With One Word.

Sexylocher Masterful Movie

Ava-Grace Willis Story: It's very simple but honestly that is fine.

MartinHafer Stan and Ollie are in prison and are constantly trying to escape. The problem is that they are idiots and every plan they try fails. Some of them are pretty funny and some a bit too silly in this film. This is one of the earlier Laurel and Hardy films, so I'm cutting it a bit of slack in scoring it a 6. The problem is that this prison comedy, while funny, also has a couple bits where the timing is just awful and they milk gags way too long--something you'd never see in their later and more polished films.The first of these over-long bits is when prisoners Stan and Ollie try to escape by pretending to be painters. When a guard becomes suspicious and follows them out of the prison, they start painting EVERYTHING in sight. When I was a kid and saw this, I thought it was hilarious. Now, as an adult, it just seemed stupid--and NOT in a good way! The second was the awful dining scene where Stan chases a cherry all around the table with his spoon. This "funny" bit was often seen in films before this with other comics and it just isn't funny--and it goes on and on far too long.Overall, even poor Laurel and Hardy is pretty funny and worth seeing. So give this one a look but understand it's not up to their usual high standards.

Michael_Elliott Second Hundred Years, The (1927) ** 1/2 (out of 4)Laurel and Hardy play convicts who make an escape but they find themselves in a more dangerous place than prison. There's small laughs scattered throughout this short but in the end the only real highlight is seeing boys with shaved heads.Call of the Cuckoo (1927) ** (out of 4)A man (Max Davidson) swaps houses, sight unseen, due to his wacko neighbors. When he moves into the new house it turns out the thing is falling apart in every way possible. The only real highlight is the few scenes with the neighbors who are played by Laurel, Hardy and Charley Chase.

rbverhoef 'The Second 100 Years' is a nice silent comedy from Stan Laurel and Oliver Hardy, but it is only nice, nothing more. The short start in jail where the two share a cell. They are about to escape through a tunnel. Their plan fails so they have to come up with something else. They pretend to be painters to get out of jail. After that, to escape a police officer they steal clothes from two French prison inspectors. Of course the inspectors were on their way to the prison Laurel and Hardy just escaped from.The first part of this short has some laughs. The funny thing here is that not Laurel and Hardy are that funny, but the written words on screen between scenes. The middle part, when they are painters, is the best. While the police officer is following them they paint everything white on their way, including a certain person that could be offensive to some. Unfortunately it ends with a sequence that plays too long and therefore becomes dull.I guess this could be a nice comedy short for fans of silent films or simply Laurel and Hardy comedies. I liked it up to a point, but compared to most other films I have seen from the two comedians this was a little disappointing.

Libretio THE SECOND HUNDRED YEARS Aspect ratio: 1.33:1Sound format: Silent(Black and white - Short film)Two jail birds (Laurel and Hardy) escape from custody and assume the identities of French dignitaries who turn out to be prison inspectors (Otto Fries and Bob O'Conor) on their way to the very jail from which L&H have just escaped! Havoc ensues.One of the best of L&H's silent comedies, and certainly their best collaboration with director Fred Guiol. This one features a full range of amusing set-pieces, including an inspired sequence in which The Boys elude a nosey cop by pretending to be painters (only to end up painting everything in sight, including someone's car!), and the lengthy scene in which they're mistaken for visiting VIP's and received at the prison as guests of honor by warden James Finlayson, only to cause chaos at the dinner table. The escalation of comic incidents is entirely believable throughout. However, the film also contains an offensive sight gag, when L&H accidentally slap white paint all over the face of an African-American passer-by.