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

Pretty Good

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The last Harold Lloyd silent comedy, "Speedy" is a yuk-filled feature boasting some impressive thrill scenes and Jazz Age Manhattan ambiance. If not as satisfying as some earlier Lloyd silents, it manages to showcase just why Lloyd was the most popular of the big three silent clowns.Harold plays the title character, who may have gotten his name from undiagnosed ADD. Speedy flits from job to job while he dreams of baseball and his girl Jane (Ann Christy). Jane wants to marry Speedy, but first there's the business of her grandfather's horse-drawn trolley, which a greedy railway magnate wants to put out of business any way he can.As other commenters here point out, this is less a unified film than a sequence of four shorts stitched together as follows: 1. Harold the soda jerk. 2. Harold and Jane at Coney Island. 3. Harold the taxi driver. 4. Harold saves Pop's trolley. The only serious concession to "Speedy's" feature length is that some business of short #4 is introduced between shorts #1 and #2.Add to that the hit-or-miss gagginess of much of the film, and what you wind up with is less satisfying than Lloyd classics like "The Freshman" or "The Kid Brother." Even early Lloyd features like "Grandma's Boy" or "Dr. Jack" had loftier goals than the laugh-driven "Speedy". Yet "Speedy" is funny most of the time, and does work in some other ways, too.Though I'm not a Yankees fan, I'm a sucker with any movie that features Babe Ruth. Here, in a cameo, he does excellent work as a passenger afraid for his life getting a mad cab ride from the star-struck Speedy."Even when you strike out, you miss 'em close," Speedy enthuses, eyes on Babe and not the road."I don't miss 'em half as close as you do!" Babe yells back.It's cool just seeing these two icons share the screen, and if you watch just before the 53rd minute, you'll see a third icon, Lou Gehrig, slip into the background during a Harold-Babe two-shot and proceed to stick his tongue out at the camera!As fun as moments like that are, "Speedy" doesn't add up to the sum of its parts until the final third, when we resume the story of Pop's horse-drawn trolley. There we get a fitting capper to Lloyd's silent-clown career, with a hilarious street battle between young toughs and old coots fought with flypaper, horseshoes, and a pegleg, among other implements. Then there's the final trolley ride, which employs a horrific-looking real accident to create some tension over the question of whether Harold will save the day.Like many note, "Speedy" is as captivating for what you see in the background. So much of it was shot for real in Manhattan, and even when there's no comically rude Hall-of-Fame first basemen in sight, there's a lot of energy and activity on view, whether its tugboats on the Hudson, taxis on Times Square, or street urchins ingenuously looking at the camera wondering what's up. The Coney Island sequence is the most labored part of the film for me, but it's still not only inventively played out but especially edifying for those of us who wonder what amusement parks were like before the age of the steel roller-coaster or more stringent safety regulations.Lloyd and director Ted Wilde knew what the audience wanted, and deliver it here with a cherry on top. If not quite as on the money after more than 80 years, "Speedy" is still well worth watching for fans of Lloyd and silent comedy.

The National Film and Sound Archive in Canberra, Australia, has a beautiful clean print of this very funny classic. At this week's showing, there was accompaniment on a grand piano by Mauro Columbis, who recently did such a superb job in the dark with DeMille's The Godless Girl. It is a truly marvellous experience to view these old movies as they were shown in the 'twenties. To those of us who were around then (but couldn't afford the ticket!), and who have become cineastes, Speedy is educational, as well as funny. At this showing, it was mentally stimulating to listen to some great piano work so well matched to the action. Clichés, yes, but well done. Has anyone else noticed that the Babe Ruth home run in Speedy is the same as a short video available on the net? This viewer, not being a baseball tragic, was unaware that Ruth batted left-handed.

Harold Lloyd's last Silent effort is also one of his best vehicles: as ever, production values transcend its simple, comedic nature - the film is particularly relevant as a time-capsule for its view of 1920s New York City - while the narrative itself is filled with enough engaging subplots to please just about everybody - Harold's failure to keep a job for long (we see him, hilariously, as a soda-jerk and a cab driver), his passion for baseball (replacing the game of football celebrated in Lloyd's earlier THE FRESHMAN [1925] and even featuring a cameo by one of its legendary exponents, Babe Ruth, as himself), not to mention an outing with his girl (Ann Christy - okay, if not quite in the same league as regulars Bebe Daniels, Mildred Davis and Jobyna Ralston) at Coney Island.The main plot, however, concerns a gang of big-city crooks intent on buying out Christy's grandfather (who owns the last operating horse-drawn cart in town); this eventually results in two wonderful set-pieces: the lengthy brawl between the villains and the team Lloyd rallies to resist them, a bunch of mangled but enthusiastic Civil War veterans, and the exhilarating final chase in which Harold ultimately makes good by bringing in the horse-cart on time against all odds - a tour-de-force in the style of Lloyd's climaxes for both GIRL SHY (1924) and FOR HEAVEN'S SAKE (1926). Incidentally, the ousting of an old-fashioned means of transport was also the theme of one of Ealing Studios' classic British comedies, THE TITFIELD THUNDERBOLT (1953), not to mention one of Luis Bunuel's Mexican films, ILLUSION TRAVELS BY STREETCAR (1954).Tragically, director Ted Wilde - who had also guided Lloyd through his finest movie ever, THE KID BROTHER (1927) - died of a stroke at the young age of 36 the year after he made SPEEDY but not before receiving an Oscar nomination for Best Direction of a Comedy Picture, the only time an award of this sort was handed out by the Academy.

This is simply a wonderful film and is among the greatest films of Harold Lloyd's career. Unfortunately, it was also the last silent film he made, as 1928 was a transition year in Hollywood--with a decent number of sound pictures being produced. By 1929, just about all the movies they made were talkies.Harold is a well-meaning guy who just can't seem to hold down a job. Despite this, he takes his girl to Coney Island for an outing. While this segment of the film doesn't have a lot to do with the plot, I really enjoyed it because it gave an excellent view of Coney Island of 1928--with all the amazing old rides.Another segment that really didn't relate to the overall plot was his brief run-in with Babe Ruth. He rushes him to the ballgame and gets to watch some of the game. Like the Coney sequence, this is a wonderful historical curio, as you get to see The Babe and Yankee stadium.The girl's father owns a very old-fashioned non-electric trolley line in a small township in New York City. A big transit company is trying to buy him out, but he really wants to keep his business going. However, the scumbags at the big company figure out a loophole--if the small trolley line fails to operate for 24 or more hours, the contract is canceled and the big guys can steal the trolley line. So, they order a group of thugs to steal the trolley and hide it. Harold, up until then had been a lovable loser. However, he shows his mettle and goes to the rescue--leading to an amazing and fun extended chase as Harold tries to keep the trolley from missing its rounds.Overall, this may not be the very best Lloyd film (I still think THE FRESHMAN is a tiny bit better), it is definitely among the very best and a great example of silent comedy at its best. Definitely on-par with the best of Chaplin or Keaton.