Very very predictable, including the post credit scene !!!

Perfect cast and a good story

Good concept, poorly executed.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

SEXTETTE is a throwback to the early years of cinema, where stars were larger than life and films threw in song and dance routines at regular intervals in the name of popular entertainment. It's also a vehicle for elderly starlet Mae West, at the tail-end of her career, playing a man-eater celebrating her wedding to a young toyboy (a visibly embarrassed Timothy Dalton). As the credits rolled, I had no idea what I'd just seen.Clearly the director is in love with West and the film has been concocted as a tribute to her. But the format is very odd and old fashioned and West's appearance is rather shocking; her age is never mentioned so it's pretty weird to see her trying to play herself some fifty years previously. Often the narrative will break off to feature some filmed insert of West making one of her trademark wisecracks, which is bizarre in itself.The music is pretty poor although there are endless guest appearances from a wide variety of folk in an attempt to entertain: Tony Curtis, Ringo Starr, George Hamilton, and Alice Cooper all show up here. Overall though, SEXTETTE is a ludicrous film, and I can't help but think that it would have been better to remember West as she was rather than as she is here.

What exactly can anyone say about "Sextette"? Ostensibly a Seventies-era reworking of Mae West's 1926 play "Sex", this movie exists within it's own continuum of both camp and sadness. You either laugh at the complete absurdity of it all or feel a deep pity for everyone who signed on to participate in the hot mess the whole enterprise turned into. West, who was in her mid- 80s at the time of filming, had been rediscovered by audiences who had no idea who she was by appearing in Michael Sarne's career killing version of "Myra Breckinridge" (1970). Mae's infamous feud with Rachel Welch during the filming of "Myra" brought her into the public eye again, so six years later, "Sextette" was trotted out to cash in on Mae's newfound camp appeal. The time had passed for Mae to be nothing other than a caricature of herself, there's a certain cruelty evident when she appears on screen here. No special effects could hide the years Mae was carrying, she looks like a mummy slathered with makeup and topped with a gargantuan blond wig. She arthritically weaves, wobbles, sashays, and gives her all in a performance that uses her most famous double-entendres. The poor thing tries, but she's now a visibly tired cartoon. A dirty joke about a supposed sex- bomb who's decades old and a horny granny to boot. Newly wed Mae cavorts in a British hotel with her young husband (Timothy Dalton) in a farce straight out of the 1930s. Several plots are running simultaneously: a global peace initiative is taking place at the hotel, Mae's tape recorded diary (on a pink cassette) of her marriages and sexual secrets has gone missing, the British press thinks her new husband is gay, American muscle-men are working out at the hotel, and nearly all of Mae's ex-husbands are wandering around the joint interrupting her wedding night. Mae contends with all the madness around her by constantly changing her Edith Head costumes, which are anachronistic in the extreme and verbally sparring with the ex- husbands played by Ringo Starr, Tony Curtis, and George Hamilton. Mae sidles up to the muscle in the gym, evidently clueless to the fact that they're all more interested in each other than they are in her, and finally saves the world at the peace summit talks. Throw in many sad cameos and the last film appearances of Mae, Walter Pidgeon, and George Raft. Throw in musical numbers that border on the surreal. Add a soundtrack by Van McCoy, the composer who gave the world the disco anthem "The Hustle". Mr. McCoy gives Mae a frightening disco-ized version of "Baby Face" to warble, a bizarre "Hooray for Hollywood" production number, and the inimitable Dom Deluise belting out the Beatles' "Honey Pie" while faking tap dancing on top of a piano. Rockers Keith Moon and Alice Cooper show up. All this, and more. Undoubtedly, this whole enterprise probably sounded like a good idea at the time. Hollywood legend returns and everyone gets down to Boogietown! Boffo box-office! In reality, no one cared or paid to see this. Mae died two years after making this, which is very sad indeed. Instead of going out remembered as an icon, she went as a mummy looking for sex and wasting 80-odd (very odd) minutes on a set up for the last line in the movie. "Sextette", then, is an artifact from the era of platform shoes and pet rocks, two things no one needed even at the time. Best viewed after ingesting LSD and wearing polyester clothing.

I suppose it's a good thing that Mae West died without having any kids. Because if they were around, they'd have to be constantly explaining away this film.Was it vanity, did she need the money, who knows why this monstrosity was made. It's not satire because the laughs are all in the wrong places.It's not just that Mae West went out on this film, but it was the last film appearances for Walter Pidgeon and George Raft. God only knows what possessed these two to do this one. In Raft's case I can understand, he was living on his Social Security at the time he died.Timothy Dalton is a great talent, he had to have been to survive Sextette. Tony Curtis and George Hamilton snickered there way through this film.Dom DeLuise was genuinely funny, but he always is.Put the blame on Mae, put the blame on Mae.

This is a film that needs to be watched with your tongue firmly tucked in your cheek - something I wasn't quite aware of even though the very subject matter should hint at this before you even start watching (would a man with the money, status and looks of Sir Michael Barrington really become the sixth husband of a woman old enough to be his grandmother, even if she was as glamorous as Mae West?).Generally, the script is predictable and Mae West is basically playing herself (or sending herself up?) and, as such, makes a very good job of it. I too find it difficult to understand some people's views regarding the idea of an older woman with a younger man or men whilst they are perfectly willing to accept the very same idea but with the genders reversed.However, there are some funny lines, and the odd very funny line and visual gag, often delivered, as would be expected, by Dom Deluise but more often by Timothy Dalton. If nothing else, the film shows his ability as a comic actor. Sir Michael's misunderstood TV interviews are a highlight and had Hugh Laurie been well-known at the time that this film was made, I would have accused Dalton of mimicking Laurie's delivery.The vision of Dalton singing Captain & Tenille's "Love Will Keep Us Together" is almost surreal. I have to admit that I sat open-mouthed for the first 30 seconds. As it happens, he has the fairly good singing voice that his resonant speaking voice would suggest (OK, maybe in need of a bit of vocal training but I am sure Simon Cowell wouldn't describe him as the worst singer he's ever heard in his life - in fact, had he been in the business at the time, he would have probably jumped at the chance to make some money out of a good-looking actor with a reasonable voice!!!).If you're a fan of spoofs, particularly of the cheesy, kitschy variety, you may like it. In all honesty, it is one of the cheesiest, corniest films I have ever seen, rescued by West, Dalton and to a lesser extent Deluise. Those who think it's an attempt at a serious musical with a bit of comedy thrown in will be sorely disappointed.