This movie has possibly the lowest entertainment value/star power ratio I've ever seen. Bob Hope and Lucille Ball, two of the 20th century's greatest comedy geniuses. Plus the legendary Jim Backus, Rip Torn, and a surprise uncredited cameo from a television comedy icon of the 1950's and 1960's who has a brief part as a hotel clerk. You almost have to give the writing, directing, and production team credit for taking a cast this spectacularly talented, and making them so dull and unfunny.A major problem is the casting. The lovable Bob Hope as a mean-spirited, psychologically abusive husband? Lucille Ball as a mousy, milquetoast-ish wife who mostly takes the abuse her pathetic husband dishes out? The real life Lucille Ball would have kicked Bob Hope's character to the curb after the first 30 seconds -- and we all would have cheered!But another major problem is that everyone seems to be sleepwalking through their parts. You would expect Jim Backus and Rip Torn to breathe a little life into their characters, but quite untypically, they seem to be phoning in their lines and waiting for their paychecks. Although I am quite impressed with Rip Torn's ability to do handstands in his younger days.If you are a fan of any of these stars, they ALL have done better films. I'd suggest checking those out first.

Mention the name Lucille Ball, and what comes to mind for most of us is the zany character in the long-running 1950s TV comedy show, "I Love Lucy." But, I wonder if Lucy started out with a wish to be a comedienne, or if she had her eyes on any other fields of stage or screen. Comedy was part of her early roles, but she also had roles in which she sang and danced ("Dance, Girl, Dance" of 1940). And there can be no doubt about her acting ability from such dramatic and suspense films as "Valley of the Sun" and "The Big Street" in 1942; or "The Dark Corner" in 1946; or "Lured" in 1947. On the other hand, there's little doubt about Bob Hope's aspirations. From his earliest days in vaudeville, Hope was a comedian, and he would always be a comedian. For all his kidding aside about earning as Oscar, Bob knew that he had little chance because Oscar very rarely went to a comedian. He even made his overt desire for an Oscar a part of his long- running comedy routines, and it was sure to get a laugh decade after decade That doesn't mean that Bob Hope didn't do some very funny movies. But his type of humor wasn't the subtle, clever or zany type that usually involved great or very good acting. Clark Gable, James Stewart, Carole Lombard and Claudette Colbert were some of the very accomplished dramatic actors who could do Oscar-winning caliber comedy in movies. Bob's comedy forte was the one-liner. Or, make that, a string of one- liners, one after the other. And in that, he often aroused some great laughter. So, that brings us to this movie, "Critic's Choice." This film is meant to be a semi-serious movie about Broadway and a critic's life, with a comedic outlook. And Lucy plays a serious character, a "straight man" to Bob's wisecracks and one-liners. I think it was intended as a light comedy to begin with, sans any zaniness on Lucy's part. The very funny parts are in the last half with Bob. He has some zany scenes himself, and a few strings of one-liners that bring out loud laughter. Some examples are: "This is the drunkenest room I've ever been in." "This apartment's all uphill." And, "I'd just like to be there when we get where I'm going." "Critic's Choice" is a nice film for an evening of light entertainment, and worth watching just to see two of the great comics of all time together.

I find the negative views of this film baffling. I saw it as a kid when it first opened, and have seen it many times since. It's one of my favorite Bob Hope films, and one of my favorite Lucille Ball films - primarily because both of these fine actors are given deeper roles than usual. The quips and comedic shenanigans are there, but rooted in realistic characters and credible motivations. Which only makes them funnier. This is a film that works as drama first, then finds the comedic possibilities.I also appreciate this as one of the very few good films *about* writing. The various phases that Lucy goes through in 'finding her muse' are true to life, and even somewhat inspiring. The reaction of others - especially critic-husband Hope's subtle jealousy - will be familiar to anyone who's ever tried to do creative work.But most of all, I love this film because it is often screamingly funny. Some of the dialog with Hope's ex-wife is very sharp. One of my favorite lines in any movie comes from Hope, after breaking the mainspring of his watch: "Symbolism. I cannot stand symbolism!" Hope spends almost the latter third of the film roaring drunk, delivering some of his best schtick. His scene in the theater balcony almost made me wet myself when I first saw it, and remains a classic slapstick moment. Again, all the funnier because it happens in such a believable context. (As Charlie Chaplin pointed out, when a clown takes a pratfall, it's not nearly as funny as when a pompous stuffed-shirt does it.)If you haven't seen this film, keep an eye out for it; you've got a real treat in store. And if you have seen it but haven't enjoyed it... No, I'm sorry: I have no advice for you. You're too far gone.

I will assume that Ira Levin's original Broadway play was much better than this dull, tedious film. It has obviously been altered to fit the acting styles of Ball and Hope. Lucy's role comes across as a toned-down version of her Lucy-wants-to get-in-show-business character, and Hope hams it up as the husband. Scene after scene comes across as rather pedestrian. The sets and cinematography are fine, and Edith Head provides Lucy with great costumes. Perhaps fans of the then-running "Lucy Show" made this film a success. However, 1968's "Yours, Mine and Ours" is a much better vehicle for Ball, even if her advanced age made that role unrealistic. In retrospect, Lucy comes across as annoying and passive in this film. In addition, the child actor Ricky Kelman is extremely irritating as the son of Hope, and step-son of Ball.