Best movie of this year hands down!

I like the storyline of this show,it attract me so much

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Acknowledgement: Most of the following has been taken or adapted from the 2017 New Zealand International Film Festival catalog.Now this is the oddest review I have ever written, as I've yet to see the film. As part of the 2017 New Zealand International Film Festival, Our Hospitality is screening on a giant screen at the Isaac Theatre, Christchurch, New Zealand on Sunday 20 August, 2017 at 2pm. Carl Davis' orchestral score, commissioned by Thames Television for Channel 4, UK is to be performed live by the Christchurch Symphony Orchestra. Overseas film buffs, book your flights and tickets to the show now. The restoration of Our Hospitality is part of the Keaton Project, launched in 2015 by Cinetica di Bologna and The Cohen Film Collection.As for my rating of 10/10, well, I'm prescient...Peter Hallinan

This Buster Keaton piece of excellence focuses on a family feud in which Buster is the unwitting son, targeted by the neighbours of his late father's land. He meets the neighbours' daughter (real-life wife Natalie Talmadge) and falls in love with her, not knowing who she is.There are some lovely pieces of humour in this film, mainly around a railway journey into the far reaches of town. There are also breathtaking stunts involving a waterfall, which still bring gasps and applause when seen in a cinema today.A superb film, funny, inventive, and boasting a great performance from the stone-faced Keaton. Perhaps not as lauded as The General or Steamboat Bill Jr., but certainly no slouch when compared to them.

Buster Keaton's exceptional silent film is not just about a young man who falls for the wrong girl, nor is it just an exercise in the many ways that film can become an art form as well as entertainment, it is in more ways than one a nostalgic look back to a period of history when this country was fiddling with pieces of invention that would soon become many things we take for granted today. The scene where Keaton is riding a pedal-less bicycle shows his great comic sense as well as where the country was in that time. There is also a funny sequence involving a train, which is for the most part, simply some carriages hooked to each other and pulled by a simple wood-burning engine.All these scenes were Keaton's idea, in my opinion, to show the audience how far America had come since those days. The same could also be true in terms of the storyline, which centers around feuding and bitter hatred for no apparent reason. Indeed, one title card reads that in those days, men killed other men simply because they grew up hating that family. Here, Keaton is the rule-breaker, as he is in many of his other films. His romance with the girl is sweet and comical and how he alludes being killed by her feuding father and brothers can be suspenseful but is also funny as well.If you say you aren't a silent film fan, I encourage you to check this one out. The music is intriguing and enjoyable and Keaton is wonderful the whole time all the while showing the possibilities of film that he regrettably never got a hold of.

Buster Keaton can't help himself: he's always got to have something to have look at, to make as an expression of doubt, fear, exasperation at a situation that is about as impassable as possible (if not impossible, not for Buster of course). In Our Hospitality he's caught in a seemingly untenable situation as the ignorant (not stupid) McKay son plopped into an old family feud war that had been raging for generations and is ignited by his return to claim his family's property. This is the kind of feud where, in those rugged 19th century times, people killed one another just because they came from a family whose rivalry went back for generations (think the ape attack from 2001 only a smidgen more sophisticated with weaponry). But there is a classic comic catch for Canfield men in dealing with Willie McKay - they can't kill him while a 'guest' in their home, and the girl of the house, Natalie Talmadge's character, has become smitten with him. Oh boy.Our Hospitality starts a little slow, but then again it's the simple set-up to a more intricate (but still simple) set of events. It's about by the time of the 15 minute mark that we finally get the first real bits of comedy in the story, as Keaton and Talmadge ride on a strange winding and crazy train across states, and where everything from getting separated by the rickety train cars to cows on the tracks hold up things. But this is just the amusing stuff; what Keaton and his co-director are holding back are both the comedy-of-manner and comedy-of-physical acts that are to come when Willie steps into the Canfield home. This is where things get, actually, fairly dark if one thinks about it, as it's all about killing a man for doing nothing except being a certain person with a particular name. Seeing little things along the way, like Willie's reaction to a neighboring man and wife having a big fight, is equally as hilarious as the steps Willie makes to not leave the house after knowing his fate if he steps outside (will the dress, or the games with the dog, save him just yet as a "permanent resident?") As par for the course Keaton leads up to an incredible climax at a waterfall- maybe close to being *too* incredible, but why carp after a while- but leads up to it carefully, at a pace that is nearly impeccable; just watching him trying to fish and eluding the Canfields unwittingly under the dam-burst river is just fine enough, but to top it off with the continuously top-after-top of the waterfall makes it a career highlight. Overall I might not recommend the film as unanimously as The General or Sherlock Jr, it should be a must for anyone wanting not one but two solid train sequences- precursors, in fact, to the mini-masterpieces he'd stage later on in his films- and for some of those little moments where we see Keaton at his most clever and winning by seemingly doing little except showing his version of concern - a slight raise of the eye, a movement of the head, says everything. It's not entirely dead-pan; it's approximate for what Keaton would do, and just seeing him at a dinner table is as riveting as dangling from a rope with nowhere good to go. 9.5/10