Best movie of this year hands down!

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The sudden arrival of long lost twins creates a crisis for the clumsy but staid Laurel and Hardy that creates instant war in their marriages. Their brothers are irresponsible seamen whose inability to pay a restaurant check results in trouble for their twins when they show up at the same restaurant. The presence of the two young opportunistic females whom the other brothers wined and dined is issue enough, but when seaman James Finlayson shows up with an incriminating picture, the situation gets out of hand. It's only a matter of time before the wives encounter the twins, and more confusion explodes.Finlayson, with thick Scottish accent, is hysterical, while Alan Hale Sr. gets to take on the Edgar Kennedy slow burn as the restaurant owner. Arthur Housman adds more fun as a drunk who instantly considers sobriety when he begins seeing seeing double of everybody. Diminutive Daphne Pollard, a comic genius in her own right, is hysterical as Oliver's hot-headed wife, while Betty Brown is perfectly cast as Laurel's equally nitwit wife. Some of the gags are taken out of their classic shorts, but make sense in the context of an expanded storyline. Zany comedy rarely gets better than this.

Stan and Ollie go out with their wives, Betty (Betty Healy) and Daphne (Daphne Pollard). However, Stan and Ollie's sailor twins, Alf and Bert, are also in town which leads to many misunderstandings. There is also a plot about giving an engagement ring to the ship's captain (Sidney Toler) which is resolved at the end of the story.I find that Laurel and Hardy are always a joy to watch but I usually end up disappointed with the laughs. This film falls into that category. It's not funny, just mildly amusing in parts. And there are some sections which are just purely tedious, eg, the phone booth slapstick and the never-ending swaying when their feet are set in concrete. There are a few funny moments, eg, Ollie's confused face with each misunderstanding at the bar but the plot of the twins being mistaken for each other has moments that confuse the audience, especially at the high class venue "The Pirate" towards the end of the film. Overall, the film is OK but I don't remember laughing.

Stan Laurel's first shot at producing eventually becomes a truly enjoyable experience, and one that is certainly more fun than William Shakespeare's Comedy Of Errors, from which this film obviously takes its cue.Here fans of the dynamic duo get double value as the boys play twin brothers with naturally mirthful results. Stan & Ollie are mischievous sailors on shore leave who are entrusted with the safe delivery of a diamond ring, knowing their personal penchants for blowing all their cash they have left their cash with Captain Toler under strict orders not to let them have it until they are at sail again. It just so happens that the town they are visiting is also the place that their twin brothers {Alfie & Bert} live as henpecked but happy husbands, they may look the same but each respective set of twins are polar opposites in how they live their lives.The plot takes all four men and hurtles them into scenario after scenario of confusion with great results, the spouses, the villains, the captain, the drunk {a wonderful Arthur Houseman}, and a number of fun characters all get mixed up in the confusion. The film is slow for the first part because we are introduced to a number of characters, but it's really just a question of time before it all comes together, and it certainly does. If you aren't holding in your sides come the wharf finale then you have had a sense of humour bypass !, 9/10.

Is this the most violent Laurel and Hardy film ever made? Surprisingly, while Stan and Ollie's twin brothers – Bert and Alf – are described as "bad lads", it's the originals that are the most malicious, in this sadistic – yet very funny all the same – Laurel and Hardy showcase. Stan gets to headbutt a barman and set fire to another man's chest hair, while Ollie, for his part, sticks a lightbulb in a man's mouth (James Finlayson, a regular stooge for the boys in 35 movies) then punches him in the face so he swallows the broken glass. Their supposedly rogue twins, meanwhile, merely try to save money and treat some ladies to a meal. In order to distinguish between the twins (other than the level of violence they display), musical cues are used – a sea shanty for the sailors Bert and Alf, and the Laurel and Hardy theme for Stan and Ollie.There are lots of great sustained jokes in this movie, such as Ollie's broken spectacles, and the ultimate in a sustained gag is the mistaken identities between the sets of twins. This joke is taken so far towards its logical conclusion that the duos don't discover each other's existence until the final ninety seconds of film. This causes the plot to be far more imaginative, whereas a lesser film would have had greater reliance on the two pairs meeting. Arthur Housman is also good as the drunk, a role he seemed to make a career out of playing in many of his 159 film roles. It was a also a role he reprised with Laurel and Hardy, having played both "drunk" and "drunk sailor" in Scram!, The Live Ghost and The Fixer Uppers.The direction by Harry Lachman is well above average for the pair. Some scenes are shot through a fish tank or the back of a bed's headrail, and there are lots of aerial shots. The split screen technology, while used sparingly, was extremely proficient for the time. One thing of note is that a couple of the sequences, such as the crushed in the telephone box scene, are slightly similar to sight gags in the Marx Brothers film of the previous year, A Night At The Opera. It's not that obvious, and may just be coincidence, but I'd rather hoped that Laurel and Hardy had inspired the Marx Brothers, and not the other way around. But it's probably funnier here anyway, particularly poor old Stan with a boot on his neck. Finally, one of the concluding scenes – Stan crying hysterically as he rolls around on concrete boots – is a real winner.