***1/2 out of **** One of Laurel and Hardy's funniest comedies. It begins in 1918 during WWI, where Stan and Ollie are in the trenches with their army mates and the whole entourage goes over the wall to do battle, leaving Stanley with orders to remain alone in the trench and guard the fort. The next thing you know, twenty years go by and it's 1938, but nobody has told poor Stan the war's ended, so he's still marching back and forth in the same old trench! Eventually, Stan gets rescued and is taken to an Old Soldier's Home where he is visited by his old pal Ollie. Ollie decides to bring him home to his place to meet the wife and have a nice home cooked meal with a nice juicy steak, topped off with a delicious seven layer chocolate cake, with typical mishaps along the way! BLOCK-HEADS is a fast-moving joy that clocks in at under an hour's running time. The laughs are pretty steadily spread throughout, and there are a lot of them. My favorite scenes occur mostly during the first three quarters of the film, especially at the Soldier's Home where Ollie reunites with Stan, who just happens to be reading a newspaper while sitting in a wheelchair with one leg tucked under -- Ollie thinks Stan lost his leg in the war and proceeds to carry him in his arms around the grounds! Hilarious!! The end of the film loses just a touch of steam, which is the only reason I hesitantly pause in giving this a full four stars. But all fans of Laurel and Hardy must seek this Comedy out, and new first-timers would do well to use this movie (and SONS OF THE DESERT) as their introduction to Stan and Ollie. ***1/2 out of ****

Block-Heads remains one of my - and many other lovers of Laurel & Hardy's favourites, from the outset with the oh, so memorable Stanley firing at an aircraft and guarding a sentry post, twenty years after the war had ended. The huge pile of empty baked bean tins that has been amassed over that period is an unforgettable sight!After he is rescued and recuperating at an old soldier's Home, Ollie reads about his front-line pal, with whom he had fought alongside, in the newspaper. Off he goes to visit Stan in his almost brand new car. The intention is take him back home to enjoy a meal that Mrs Hardy has cooked.Of course, nothing goes to plan and here the stunts are just a bit better than usual, undertaken with even more gusto and for its 50 minute runtime, is one of their most consistently inventive, entertaining and funny features.

Do you have the feeling that the folks in the army deliberately forgot to tell Stan that World War I was over? Maybe they just didn't want the troop ship to sink on the way back from France.If that was the case Ollie made the mistake of his life when he decided to invite his long lost buddy Stan over to meet the wife and have a good home cooked meal. Ollie's happily married now to Minna Gombell and when we first meet them he seems to be one happy well adjusted man.Blockheads really starts when Stan is reunited with Ollie at the old soldier's home. I guess a grateful government is giving Stan free room and board for being the last man discharged from World War I. Still there's nothing like home cooking.I think Blockheads offers us the proposition that Ollie can be a well adjusted if somewhat fatuous individual by himself. It's only apparently when he interacts with Stan that things just seem to happen.And in fact that's what Blockheads is, a series of gags from the time that Ollie meets Stan at the home and just assumes he's an amputee because he's decided to sit a wheelchair rigged up for one. Right up to the point where big game hunter Billy Gilbert, the Hardy's next door neighbor chases the both of them out of the house because he catches Mrs. Gilbert in Ollie's pajamas. How she got in them? You have to see Blockheads to find out.Best gag I thought was Stan dealing with an obnoxious neighbor who has just bullied Ollie into fetching the neighbor kid's football. Very priceless bit of comeuppance. To see how in the space of an hour Laurel manages to literally become a home wrecker, catch Blockheads.

Producer Hal Roach was reportedly disturbed at the increasingly bizarre endings Stan Laurel & Oliver Hardy proposed for their MGM-released features of the mid/late-30s but the comedic results here more than warrant it. The feature begins making you think it will be merely a spoof of a slightly-musty WWI 'returning veteran' melodrama, then enters a strange, deceptive 'midground' number of scenes where the two are supposedly happily reunited yet must almost literally battle each other in an undercurrent of mindslips, oddball personas, switched anonymity, and a willfully ignorant understanding of lethal technology (Stan attempts to back up a loaded dump truck to help Ollie leave a parking space and instead spills a ton of dirt and refuse right on Ollie's head. The results aren't much better when Ollie--unexplainedly--soon allows him to drive the car into his home parking garage.) The film's mise en scene finally settles at the resplendent, multi-leveled apartment complex where Ollie tries to get his previously sweet and accommodating wife to fix a steak "this thick" (Ollie holds his fingers apart several inches to indicate the due process and wealth both men are implicitly entitled to) for them. But once Ollie inadvertently destroys the complex's only elevator and the two begin to create total havoc not only with several other residents but with Oliver's own wife the film is a textbook example of brilliantly refined movie comedic targeting: sweetly gentle optical fades from debris-ridden visual punch lines, well-timed and properly attenuated sound effects (the 'hiss' from Oliver's kitchen gas stove when Stan dimly attempts to try to light it is particularly dangerous sounding), public revealment of the often unglamorous politics of marriage and neighborliness, supposedly innocent bystanders turned cheerleaders of outright societal collapse and hungry for more (this IMDBer was on the floor by the time a totally innocent married woman from across the hall had been stripped of her normal clothes & wearing Ollie's pajamas had to escape her own husband by masquerading as a chair while Stan kept trying to sit on her.) Say what you will about the increasingly poisonous business relationship between Stan and Hal Roach, the film is polished looking, employs several old timers from their silent years, and I found the portrayal of the women understanding and believable, not as quaint (Marx Brothers) or bellicose (W.C. Fields) as some of the competing comedy works of that era. Hadn't seen this one in years but it proves the boys were capable of many more years of contribution with the right administrative and technical support.