gilpiju I've watched this movie 5 times and each time I find another slew of great jokes, subtle sight gags or unexpected comedic high points. Never mind Dudley Moore, the real stars of this movie are Richard Griffiths, who last year took home an Oscar and Tony for his wildly hilarious and touching performance in History Boys, and his co-star, Penelope Wilton who plays the incredible Patricia in this movie. She manages to be guileless, disarming, charming and willful in the same scene. (Wilton also won a Tony for History Boys, was nominated for an Oscar, but lost out.) Not to mention Bryan Brown who is marvelous as the conflicted hit-man who secretly longs for a quiet corner and a florists' shop in which to retire. Who knew, after two F/X films, that he was so great at comedy. The main stars and head writer are comedy veterans from the Monty Python-precursor, Beyond the Fringe, and their adeptness with comedy really shows. This movie has everything: A great plot worthy of Shakespeare, Oscar Wilde, or Tom Stoppard at his funniest (Think The Real Inspector Hound, or Rosencrantz & Guildenstern are Dead.) If you like your comedy literate, with beautiful scenery, subtlety, a little dark humor around the edges, and a surprise ending, you will love this movie. The entire case of multiple mistaken identity is based on Bronson Pinchot's riotous inability (in his best acting job ever) to pronounce the English "H". The result spins out in an unpretentious and delightful romp around beauteous locations in Venice, with marvelous comedic touches. These include a mob hit man who delights in taking Polaroids of his victims in ever more distressing situations and sordid death scenes. The torture of Dudley Moore reminded me of the best plays of the Irishman, Martin McDonagh. Think the Lieutenant of Inishmore, and substitute a Venetian villa for the cat. It's here, it's gone, it's falling apart, no it's back again. You wonder, throughout the second half of the movie, how the good guys will extricate themselves with all limbs intact, and how the evil doers will be punished. They are, and they do, all with several surprising twists that keep you guessing until the end. But you have to pay attention to appreciate everything else that is going on. (Look for the wonderful gags about Euruopean hotel cable TV, and the rhinoceroses at play.) Literate viewers who like witty repartee tossed off the way the Brits do it best, you will love this movie. Guaranteed.

Lee Eisenberg For the most part, "Blame It on the Bellboy" is low comedy: a bellhop (Bronson Pinchot) in a Venice hotel confuses the invitations going to a realtor (Dudley Moore), a philanderer (Richard Griffiths) and a mafioso (Bryan Brown), sending each man to the wrong location. There are some funny situations along the way - most of which involve the bellhop himself - but I think that it would have come out a little better had they cast someone other than Dudley Moore; Chevy Chase, Steve Martin or Dan Aykroyd could have done that role easily.So, it's a nice, silly way to pass time. But don't bother with it more than once. All the cast members have done better than this.In H-H-Honolulu, H-H-Hawaii for a wh-wh-whole h-h-half h-h-hour...

bob the moo Three different men check into a Venice hotel for very different reasons. Melvyn Orton has come to look at property being sold by Caroline Wright. Maurice Horton has come to meet a blind date that has been set up by a dating agency. Mike Lawton is a professional hit-man who has come to do a job. On their arrival each man is due to get information delivered to the hotel but the similarity of their surnames combined with language difficulties sees them getting the wrong contact information without knowing it. So Orton goes to view a house and finds himself held by a mobster. Horton thinks he is on a date with property seller Wright while Lawton thinks he has to kill Patricia Fulford (who thinks she is on a blind date).Although this film produced the odd laugh from me, I found it very difficult to get past how very contrived and forced this farce was for the most part. It is a very dated British comedy that is rather predictable and very silly, those with low expectations might not be too disappointed because it occasionally amused me but there wasn't a great of wit here and everything was painted in very broad strokes. The characters are obviously thin and the comedy is supposed to come from all of them talking to one another at cross-purposes. At first this is a little funny but after a while it gets a bit tiresome and there isn't a great deal to distract as it moves forward. However I must contest those that call this the worst film they have ever seen; it isn't that bad – basic of course but it is weak, not terrible.The cast mainly have little to do apart from act confused. Brown and Wilton are probably the best of the bunch and even they are not that good. They manage to produce interesting characters and are better for it. Moore has nothing to do of value and this is a poor thing to remember him by. Griffiths is amusing and works reasonable well with Kensit, but they don't have good material to work with. They all try hard to make the most of what they are working with but generally there isn't much there other than mugging.Overall a faintly amusing farce but one that is far too contrived, forced and obvious to really be that funny. I can understand why many viewers hate it but it really isn't that bad – but it is pretty damn weak throughout but maybe if you are in an undemanding mood you'll get tickled by it a bit.

Robert D. Ruplenas Take 3 Englishmen -1. Michael Horton (a philanderer indulging in a surreptitious tryst) 2. Mike Lawton (a hit man assigned to rub out an Italian mob boss) 3. Melvin Orton (a mousey junior manager on a property-buying assignment for his overbearing boss)and put them all in the same Venetian hotel with a bellhop who has great difficulty with the English language, and you have what promises to be a raucously funny good time, and 'Blame it on the Bellboy' delivers on the promise. This rousing comedy of confused identities comes right out of the tradition of the great British Ealing Studios film comedies of the late 50's and 60's (the same tradition 'A Fish Called Wanda' purported to come from; I found this movie a LOT funnier).My only complaint is that some of the grim scenes of mob violence would be more at home in the 'Lethal Weapon' series; in a farce like this they seem jarringly out of place. However, beautiful Patsy Kensit's presence more than compensates for this minor complaint (she was the blonde secretary in Lethal Weapon 2, remember?).On the whole, an A++ recommendation