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

Wordiezett So much average

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

ajliccione I first viewed this movie about 25 years ago on TV. I was nicely buzzed and after the first few minutes my jaw dropped and stayed there. This is a movie chock full of major STARS and produced by Otto Preminger.....a supposed comedy, this film is Ottos take on LSD. This film is not funny...it is like watching a train wreck. Soundtrack by Harry Nielson. Big budget..Grocho Marx last film...the movie is just awful. Upon researching the film a lot of trivia and surprising facts come out. Like Premingers daughter having the film under lock and key until a few years ago.....This is Carol Channings low point.....And if you can watch it to the end......the song Skidoo will stick in your head......Skidoo, Skidoo, between the one and three there is a two. Oy.

solszew I am not sure what to make of the terrible (and sometimes angry) reviews of this film. This is a good, if offbeat, film. Performances are good across the board, the direction is solid, and the script, though bizarre, moves pretty well. Perhaps people have thin skin. Preminger does poke uncomfortably at social mores, especially those that were emergent in the generation-gap era - drugs, sex, freedom, and gender power. Subversive? Hell yes. Maybe that's why the reviews are so bad. I loved the film. I loved Carol Channing as Jackie Gleason's turned-on wife. I loved Groucho Marx as "God". I loved Mickey Rooney as Gleason's best friend in prison. I ESPECIALLY loved Luna, as God's assistant (and what the hell is she almost wearing there?). In addition, Jackie Gleason takes acid in prison, Frankie Avalon is a hip gangster, and Carol Channing sings a Nilsson song. What's not to like? Honestly?

mark.waltz Otto Preminger, that classic director of such classics as "Laura" and "Anatomy of a Murder", adds another masterpiece to his resume. Oh, wait a minute, that's "Advise and Consent" and "The Cardinal", not this marijuana induced nightmare of a comedy. If anybody ever questions your claim that Carol Channing and Jackie Gleason played a married couple, tell them about this film, a disaster that Ms. Channing has refused to acknowledge. Smart lady. Looking like Big Bird in a yellow dress with matching boots and feathered hat, Channing is the wife of a retired mobster who is forced out of retirement at the insistence of "God" (Groucho Marxx!) to do one last job for him-in prison. A bunch of hippies and Hollywood veterans spend pretty much the entire film getting stoned. If seeing Gleason spacing out on hallucinogenic drugs isn't weird enough for you, try Slim Pickens, Burgess Meredith and Peter Lawford.This is a mess of a film that has to be seen to be believed. In addition to the cast of veterans (which also includes Mickey Rooney, Cesar Romero and George Raft), add on Frank Gorshin (who talks entirely through closed teeth) and Frankie Avalon (minus Annette), plus Doro Merande, a name you may not know but whose face you probably might recognize. She plays a square mayor as a combination of both Margaret Hamilton (looks) and Billie Burke (bird brain) that would make the Wizard of Oz fly the coop long before Dorothy ever arrived. When a film is this bad, it is unnecessary to repeat the plot, what little there is of it, because there is simply so much to laugh at. This is an incomprehensible mess with a horrible title song that comes out of nowhere to be sung by Ms. Channing in pirate get-up, as well as a song simply devoted to trash cans (minus Oscar the Grouch). Crazy sets and costumes (including a bed that descends into the floor in Avalon's pad) seem as if they were designed while on LSD. The opening is a battle of remote controls between Gleason and Channing, while the closing credits are sung in a way so ghastly you want to hold your nose over the invisible stench of the film.The late 60's had a ton of films so bad that they defy description, and this is at the top of the list. Preminger made some strange choices in the later part of his career, but this one is the most puzzling. It ranks two stars instead of one because I had to acknowledge the fact that I had fun laughing at it while making notes for this review.

surfink The conventional wisdom on this movie (amply supported by both positive and negative reviews here on IMDb) is that it's either an awful, embarrassing, train-wreck of a movie that wastes it's star-laden cast, or that it's hugely entertaining, but only because of how terrible it is. I beg to differ on both counts.For starters, people, it's a satire! It's not supposed to be taken at face value, although I believe it has a serious message underneath all the silliness. Satirized at various points throughout are gangsters, television, the judicial system, consumerism, playboys, technology, government, and (very gently) hippies. I think some people probably have trouble following the movie because the plot is fairly intricate; if you're not paying close attention you will miss plot points that make later events more comprehensible. The first time I saw this I was mildly amused, but each time I watch it, it gets better and I get more out of it.There are even scattered moments of brilliance, dare I say it. The opening scene of Jackie Gleason and Carol Channing dueling with their TV remotes, flipping between the sadly too-realistic senate hearing and amusingly insipid commercials is priceless and spot on. Gleason's assessment of Law's hippie character also brought a smile to my face ("How come you're driving a beat-up Rolls instead of a beat-up Ford? How does that fit with your beliefs?") The acid-trip sequences are actually quite well done, more closely resembling an actual trip, and especially the behavior of those on a trip, than many expressly drug-oriented movies of the time (except maybe for the dancing garbage cans), perhaps because Otto Preminger actually experimented with LSD before making the movie. And everyone from the big names to the bit players are excellent in their roles and play everything straight—with no mugging or winking at the camera—all the way. Austin Pendleton, in particular, as "Fred the Professor," is in top form and nearly steals the show. (And is that Corbett Monica dancing on top of Slim Pickens's switchboard?)I see this more as a critique of dog-eat-dog capitalism (as represented by the gangsters) than just a meaningless farce. I think the most telling scene is where Gleason ("the best torpedo in the business") drops acid, "loses his ego," and realizes just how morally/spiritually bankrupt the violent, money-obsessed gangster life is. And while the hippies are occasionally gently mocked ("If you can't dig nothing, you can't dig anything") I really feel that the film's heart is on their side, making Skidoo essentially a 98-minute commercial for peace, love, and understanding, and really one of the best countercultural movies of the '60s (especially since it was made by a 62-year-old "member of the establishment"). Compare this to other '60s "youth oriented" cheese fests (which I love) such as Riot on Sunset Strip, The Big Cube, The Love-Ins, etc., and you'll find that Skidoo's depiction of the hippies is actually more realistic (and sympathetic) and that it carries a more serious message (!!).Try to clear your head of all the "train wreck" and "so-bad-it's-good" propaganda before watching this and I think you'll find a rather sly, sophisticated, and quite funny comedy. I think Preminger was light-years ahead of both audiences and critics in 1968 (and apparently still is), accounting for its failure at the box office more than the quality of the movie itself. That, and the fact that it's so hard to pigeonhole: is it a gangster movie, a comedy, or a youth-market drug flick? The recently released Olive Films DVD is bare-bones, with no extras other than chapter stops, but is in 2.35:1 anamorphic widescreen, and the print is in overall great shape, with good color and contrast and virtually no blemishes or other damage. If you're a fan of this film, pick it up and support the release of obscure gems like this. You will not be disappointed."It's only my opinion, but it's one that I value highly." —Henry Fool