This movie was so-so. It had it's moments, but wasn't the greatest.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

By the time the dramatic fireworks start popping off, each one feels earned.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Loose Shoes (AKA Coming Attractions) is an uneven collection of film trailer spoofs in the vein of Tunnel Vision and American Raspberry (and contains a number of the cast members from both films). The majority of the sketches settle for stale bathroom humor and come off horribly dated. The film nearly redeems itself at the end with the brilliant Cab Calloway send-up "Dark Town After Dark," from which the title is derived. Both affectionate homage and topical satire, it makes you wonder how the rest of the material got in the door. The few celebrity appearances read only as curios and lack the punch to bolster the film on the whole.

I rented the film years ago (Bill Murray...gotta be funny right?) and we put it in the player and waited for the movie to start. After a few of the movie previews we thought, "Any time now...the movie has to start just any minute.." Then we realized that all it was was trailers...and fake ones to boot.I really hate movies that play on a big name who really is little more than a cameo in the film just to get someone to see it. Like Bruce Willis in Four Rooms or Lugosi in Plan 9; just there for window dressing.The only thing I can see using this movie for would be background noise at a big party. I can see it playing on a screen, you wander by, watch a scene or two, and wander on. No plot to miss by not sitting and watching it.

What makes this movie special is that it tries to give you a comedic history of film in trailers, starting with silent films and ending with Star Wars. Obviously some of these parodies are more successful than others, but quite frankly it towers above the stupidity of Kentucky Fried Movie and others of that genre by its intelligence. Ira Miller and Royce D. Applegate who both wrote and directed the film were alumni of the great improv theater groups: Second City and the Committee. Their ability to not only craft such a brilliant comedy but also to involve a cornucopia of the best improvisational actors of that decade brings a sense of that lost era to life. These were the actors who changed the nature of American comedy. I cannot imagine how one could explain why this film has become the cult favorite of the twenty-first century except to wonder how soon it will be before the next 'History of Film as Seen Through Its Trailers' will arrive on our screens.

An occasionally amusing, often confusing, gleefully profane 70's movie that hasn't really aged well. A precursor to Saturday NIGHT LIVE, it's a hodgepodge of spoofs and takeoffs of popular movies of the time. Some of the material is quite good ('The Shaggy Studio Executive,' where Walt Disney comes back as a guy in a dog suit), some of it's dated badly (A 'Snacktime' concession stand advert featuring a stoned guy with the munchies), a lot of it you have to think for a minute or two to figure out what's supposed to be funny (Who knew the eulogist at the biker funeral was supposed to be a takeoff of Georgie Jessel?). Best if you remember the time.