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Before he became a "serious" filmmaker and gained the respect and admiration of film critics, Woody Allen was already entertaining millions of fans with such unashamedly silly comedies as 1973's 'Sleeper.' The science-fiction story concerns an unfortunate Miles Monroe (Allen), the 1970s owner of the Happy Carrot health-food store, who goes into St. Vincent's Hospital for a routine peptic ulcer operation and wakes up 200 years later in a terrifying police state. He is revived by a subversive underground rebel organisation to help uncover the secrets of the dreaded "Aries Project," and to overthrow the tyrannical government and its dictator. Along the way, Miles enlists the help of the neurotic and exuberant Luna Schlosser (Diane Keaton, who collaborated with Allen on multiple occasions, most notably in 'Annie Hall (1977)' and 'Manhattan (1979)').

A chaotic blend of razor-sharp satire and slapstick humour, 'Sleeper' contains enough of Allen's and co-writer Marshall Brickmann's trademark wit to remind us of what makes their later collaborations so brilliant. Of course, as Allen had yet to reach his creative peak, some of the jokes in the film work (the infamous Orgasmatron; the Volkswagen Beetle that starts up immediately after 200 years of neglect), whilst others aren't pulled off quite so well (the giant chicken; the mock Miss America pageant). In one memorable sequence, year 2173 historians show Miles a collection of historical items and photographs, and he idly gives off ridiculous explanations which they accept as fact. For example, yes, Howard Cosell's sporting reports were used as punishment for criminals who had committed a crime against the state!

The promotional posters for the film proclaimed: "Woody Allen Takes A Nostalgic Look At The Future." This, more than likely, refers to the style of comedy, which, aside from Allen's witty observations, very much evokes memories of the silent slapstick comedies of Lloyd, Keaton and Chaplin. Much like the latter did with most of his films, Allen wrote, directed, starred in and composed the score for 'Sleeper.' The score itself, which is very upbeat, New Orleans-style traditional jazz, was performed by the Preservation Hall Jazz Band with Allen sitting in on clarinet. 'Sleeper' may have been inspired by H.G. Wells' classic novel, 'The Sleeper Awakes,' which recounts the tale of a man who awakes from a 203-year sleep to find himself in a horrifyingly-transformed futuristic London.

Aside from including a wealth of instantly-quotable one-liners ("I'm not really the heroic type. I was beat up by Quakers"), Allen also has a lot of fun in his disorganised futuristic dystopia. After pouring too much "Instant Pudding" into a bowl, the overdone dessert practically comes to life and has to be beaten into submission with a broom; it is also revealed that, contrary to popular agreement in 1973, such substances as deep fat, tobacco and hot fudge are not only not unhealthy, but probably the best thing for your body! When Miles happens upon a garden of human-size fruit and vegetables, we just know that the giant banana peel is going to come into play somewhere, and, sure enough, Miles inevitably takes a tumble.

Miles Monroe (director Allen), a health food store owner and jazz clarinetist, goes to a hospital for a routine operation, but something goes wrong and he is put to cryogenic sleep for over 200 years. When he is woken up in the 22nd century, the society has changed into a pleasure-addicted dictatorship. Miles is immediately pulled into revolutionary activity and soon has to flee the state police on his way to the mysterious ruler of the society. He also finds himself teaming up with an initially reluctant woman called Luna (Diane Keaton) and together they adventure through the futuristic society.

The comedic style of Sleeper is an entertaining combination of over-the-top farce and Allen's usual verbal jabs at the society of the 20th century. The silly jazz music accompanying the bumbling chase scenes evokes memories from the silent era (some scenes are even sped-up), and the old masters of slapstick have clearly been a major influence to the style. There are also many references to more modern works of science fiction, such as 2001: A Space Odyssey and Nineteen Eight-Four. Besides the funny farcical scenes, Allen gets to perform his classic neurotic worrying routine that works fine and will amuse fans of his on-screen persona.

A very notable aspect of the film is its visual style: the sets and props all look excellent. The futuristic houses, round vehicles, stiff servant robots, gigantic fruits and even an unruly pudding look hilarious and the many details of the society provide chances to comment on how things are advancing in our times. Be it an orgasm-machine or nonsensical poetry, they seem to suggest we are moving towards times where ignorance revels and empty pleasure-hunting is celebrated as the only correct form of bliss; it can be said that the underlying themes of Sleeper are not unlike those of Aldous Huxley's classic novel Brave New World.

Social commentary aside, Sleeper is also a very funny comedy that appeals not only to friends of Allen's neurotic shtick but also to slapstick fans and admirers of creative production design. Diane Keaton also deserves praise for her performance that features all the necessary comical energy and makes a good pairing for the protagonist Miles. In brief, I laughed out loud several times and would rank the film highly among the handful of Allen films I've seen so far. As far as sci-fi comedies go, Sleeper is a definite winner.

Woody Allen's films are generally treasured among other comedies because of their wit and charm. Many critics would agree, though, that Allen's earlier films were among his best. One of those movies was a lighthearted film called `Sleeper,' which starred a younger version of Allen and a younger, but always beautiful Diane Keaton. Although `Sleeper' leaves a person in stitches from laughter, its one flaw is that it lacks an ending. But don't let that stop you from seeing this comedy classic. In the end, who cares where it goes because it's just flat out funny. `Sleeper' is the story of Miles Monroe (Allen), who is cryogenically frozen in 1973 after having a procedure in a hospital. He is awoken nearly 200 years later by a group of scientists who want Monroe to help them defeat the leader of their society, as America's future consists of a totalitarian state. While on his adventure through this futuristic world, Monroe meets a beautiful woman named Luna Schlosser (Keaton) who he begins to have a love interest in. The two team up to try to oust their tyrannical government and bring about freedom and prosperity. `Sleeper' was hysterical from beginning to end. The very opening scene shows Monroe covered in tin foil-clearly scientists in 1973 found new and amazing uses for this wonderful kitchen product. As soon as Monroe awakens, he is disoriented, smiling aimlessly into space and walking backwards and into people. Allen's comical blend of intellect and charm shows up soon after. The futuristic society is comprised of people who have no historical references for the events of the past 200 years, as their leader has undoubtedly outlawed certain forms of knowledge that could lead to rebellion. They use Monroe to fill in the historical gaps by showing him pictures of famous twentieth century individuals, such as Joseph Stalin. Monroe provides his own synopsis of their contributions to the world in his own clever way, as he does also for former President Nixon. Allen's writing, direction and performance were hilarious. Rarely do we see writing as clever and sidesplitting in today's comedies. The only other comic director today that could even compare to Allen would be Christopher Guest, whose mockumentary films such as `Best In Show,' and the recent `A Mighty Wind,' have a real source of comedy. Most present comedies are trivial, filled with rehashed jokes that depend more on toilet humor than any form of real wittiness. The film's only problem is that after an hour and a half, it doesn't seem to know what to do with itself. It ends on a clever note about love with the protagonists somehow managing to save themselves, but not really the day. They realize that perhaps the only thing worth fighting for, in the end is love. All in all, `Sleeper' was a very funny farce on science fiction stories, and it cemented Allen's ability to be an engaging and funny in his films. ***

A futuristic comedy from Woody Allen in 1973 has him waking up from an operation 200 years later (in 2173) to find society has gone berserk.

Clever, witty, and very funny. Allen is hysterically funny as the "sleeper" who gets to give history lessons on the 1970s, pose as a robot, and become a revolutionary to be near Diane Keaton.

Filled with sight gags galore and great one-liners. The giant vegetables and chicken are funny. And so is the "1984" political humor that fits the Bush era better than it did the Nixon era. Also very funny is Allen's extended Blanche du Bois speech.

Allen is excellent as is Keaton. John Beck plays a revolutionary. Mary Gregory is the doctor. George Furth is a party guest. Jackie Mason does the voice of the Jewish tailor.

A must see.

In this early comedy, Woody Allen plays Miles Monroe, a twentieth century healthfood restaurant owner and jazz clarinettist who is cryogenically frozen after surgery and awoken two centuries later. The America of 2173 is a totalitarian state ruled by an oppressive dictator, and Miles has been reanimated by a group of rebels fighting to overthrow the government. For reasons too complex to set out here, Miles is forced to go on the run disguised as a robot and finds himself falling in love with his new owner, an attractive but intellectually vacant young woman named Luna. The film recounts how Miles wins Luna over to the rebel cause and tells the story of their fight against the regime.

Unlike some of Woody's later films, this is a pure comedy. It does not try to explore philosophical issues or to analyse the human condition in the same way as, say, "Hannah and her Sisters" or "Crimes and Misdemeanours". Although I normally think of Woody as a master of verbal wit, much of the humour in "Sleeper" is physical slapstick, based upon (and no doubt deliberate homage to) the comedians of the silent era such as Charlie Chaplin or Buster Keaton. (I particularly liked the scenes where Woody is disguised as a robot and those where the villains are attempting to clone the dictator, killed in a bomb explosion, from his nose). The links with that era are reinforced by the musical score, composed by Woody himself, in a jazz/ragtime style reminiscent of the 1910s and 1920s. The sets, by contrast, are very futuristic, with the clinical glass-and-chromium look of many science-fiction films. The combination of a futuristic theme with a traditional style of comedy is doubtless why the film was advertised under the slogan "Woody Allen takes a nostalgic look at the future".

This is not, however, simply a pastiche of silent humour like the one Mel Brooks was to attempt a few years later in "Silent Movie". This being a Woody Allen film, there is also a good deal of verbal humour, particularly one-liners along the lines of "I haven't seen my analyst in 200 years. He was a strict Freudian. If I'd been going all this time, I'd probably almost be cured by now". (As that line suggests, Miles is the typical, neurotically insecure Woody Allen character). As is often the case with humorous science-fiction (such as Douglas Adams's "Hitchhiker" books), the humour is frequently used to make satirical points about twentieth-century society as seen from the viewpoint of an imagined future. Contemporary worries about our diet are neatly satirised by a joke about how the science of two hundred years hence has proved that fatty foods and smoking are actually beneficial to health whereas what we now think of as healthfoods are regarded as unhealthy. This joke has remained topical because anxiety about what we eat is, if anything,even greater today than it was in 1973. There is perhaps also a dig at seventies "radical chic" as the vacuous conformist Luna becomes an equally vacuous revolutionary. (The plot of "Sleeper" seems to owe something to another tongue-in-cheek science-fiction film from a few years earlier, "Barbarella", which also dealt with rebellion against a dictator and even featured similar "orgasmatron" machines; the star of that film, Jane Fonda, had by 1973 become Hollywood's most famous radical chic actress).

The humour of "Sleeper" is often directed against figures from the sixties and seventies- perhaps too much so, as this type of humour tends to date very quickly. Some of it is still funny (such as Diane Keaton's Marlon Brando impersonation), but some can now be difficult to understand, particularly for non-Americans. (I had no idea, for example, who Howard Cosell was- apparently he was a sports commentator). That is, however, a minor quibble. Overall, this is an entertaining film and, in places, very funny, combining successfully two very different styles of humour. 7/10

Sleeper is a comedy with one of the wittiest premises I've ever seen. It is a comedy about life in the 22nd century through a neurotic Jewish Brooklynite's cynical eyes. No matter how different things are in the future, his perspective doesn't change, his wry sense of humor stays the same, happily misplaced ragtime music plays over the movie, and old-fashioned sight gags are employed complete with the occasional stepped-up film speed.

Allen has always done well playing virtually the same character in all of his movies, but his talent as an on screen comedian is milestoned in this performance. He has the brilliance to mock even the most elusive and unnoticed physical conventions of screen acting, for instance his whispering to Diane Keaton while they pose as doctors in the presence of several people close by. It's a nitpicky sense of humor that contributes greatly to the intelligence behind all of his manic goofiness.

Diane Keaton is his match, however, whereas most of his leading ladies usually aren't. In fact, I hold Diane Keaton's performance in Sleeper as her crowning achievement so far that I've seen of her, even beyond her work in the Godfather films. She delivers great laughs. Her highlight is in what is possibly the funniest scene in the entire film, which eventually involves her doing an impression of Marlon Brando. Who would think that Diane Keaton would deliver the most convincing and dead-on Brando impression one has ever seen. While we're on the subject of that particular part of that hysterical scene that I will preserve for you to see for yourself, I must say that most people, even some of the most talented comedians and office/class clowns can hardly come close to mimicking Brando's voice, expressions and mannerisms. Diane Keaton somehow nails it. In Sleeper, she gives one of the funniest performances I've ever seen from an actress. She and Allen are truly one of the funniest comic pairs I've ever seen in a movie.

What makes Sleeper so funny is not just the physical comedy but the out-of-the-box, completely unorthodox creativity behind all of the physical comedy. There is a scene where someone slips on a banana peel. But the banana peel is the size of a canoe, as is the banana and all of the electronically preserved fruits and vegetables in this particular place, and Allen is being chased by a futuristic cop and both of them are slipping repeatedly on the peel. The film has robot butlers and maids of the future, and gradually throughout the film some are introduced as robots programmed to act and speak like effeminate gay men and Brooklyn Jewish stereotypes. There is also a great amount of intellectualism and cultural knowledge in even the zaniest of humorous moments in Sleeper, and that is what makes it one of Woody Allen's funniest films and a work of true comic genius.

No question that Woody Allen's earliest films were the most unpretentiously humorous, and Sleeper stands out among them. The conception of a frozen Allen waking up centuries in the future allows for plenty of biting satire on America in the 70's, not that we don't have plenty of good old-fashioned slapstick to boot. The bit with the Jewish robot tailors knocks me out no matter how many times I see it ("o-KAY, ve'll take it IN").

In this early Woody, most of his shtick is already in evidence. And, for quite a while, the jokes are funny. But after a while, the jokes start repeating and the film just lies there, a noisy unwieldy mess with Woody and Diane arguing repeatedly and noisily.

It seems to me that Woody here is rather strongly influenced by Chaplin's "Modern Times" which I'm also not a fan of. But Chaplin had an undeniable gift for physical humor which Woody does not. Later on, Woody became more pretentious in an effort to be profound, especially when he was trying to channel Bergman.

I have found it typical of all the Woodies I've seen more than once, that I can't really watch it again. If you think I'm not a fan, you are right!

6 out of 10.

Although i was only 1yr when this film was made, its still one that i can watch again and again. Woody Allens physical slap stick is brilliant, the scene of him waking up and getting in the wheelchair makes me cry with laughter. I'm not a big Woody Allen fan so i cant compare it to his other movies, but i would strongly recommend this film. Anyone wanting a good laugh should definitely see this movie. It has that innocent feel you get from older movies that still had some standards of censorship. If the film was made today it would probably be crude and crass like American pie. I'm no prude but i feel that this film was made during the best time of movie making, when plot and good acting were more important than special effects and shock tactics.

I think I am going to have to rank this as Woody Allen's second-best (and second-funniest) movie... after the unbeatable "Annie Hall". Even after having seen the movie 3 or 4 times I still find myself amused by some of Allen's shtick... and his rarely-demonstrated adeptness at physical comedy. So many classic physical bits: riding around in the wheelchair... eating the rubber glove... the future scientists trying to force his slack body into a futuristic vehicle. After this movie Woody started to get a little too cerebral... this was his last attempt at a just-plain-funny movie... and probably his most satisfying of his early comedies... only because there was a sort-of storyline. Woody is cryogenically frozen after a botched operation in the 1970s and is awoken 200 years later to find himself in a repressive Orwellian future. He meets up with a spoiled rich chick (Diane Keaton) and influences her (not really intentionally) into becoming a revolutionary activist.

Not quite the best of Woody Allen's early 70's comedies, before he got all serious and all, but there's still plenty here to amuse. A frothy cocktail of sometimes surreal, sometimes slapstick humour, the latter in particular accentuated by Allen's own perky Dixie jazz soundtrack.

The gags roll (mostly) merrily along and besides Allen's usual foibles on sex and Jewishness, slipping occasionally, as he often did in his earlier work, to sexism, he still lands a good number of bulls-eyes, nailing life in Beverly Hills and even outing yet-to-be-disgraced Tricky Dicky Nixon before his soon-come Watergate Waterloo.

Diane Keaton gets to amply demonstrate her kookiness but also shows her worth in some fast-patter exchanges with Allen. Once the movie settles down to its extended chase sequence, one hardly notices any other supporting parts.

The sets are surprisingly good, particularly the vehicular creations and the interior sets depicting modern living in the 22nd century. There are just about more hits than misses in the humour stakes - I chuckled most at the pithy attack on health foods and the "Streetcar Named Desire" spoof and wonder if the closing lines were a planned lead in to Allen's next project, the wonderful "Love and Death".

Anyway, I'll close by relating that "Sleeper" kept a smile on or near my face for its 90-odd minute duration. Not quite as good as "Love And Death" or "Bananas" in my estimation though.

I had the reaction to this movie that I usually have had to Woody Allen flicks in the past. It's funny, filled with interesting jokes and ideas, but in the end I felt like Woody had more fun than I did.

The scenes where he has petty arguments with Diane Keaton just didn't strike me as funny. To be more specific, I don't think she's funny. Woody Allen is on screen, inducing laughs from his Jewish sense of humor, while she tags along and does a pretty bad job of playing along with it. This is a comedic routine with a long and time-honored tradition: the joker and the straight man. The problem is she can't play a good straight (wo)man-- she's just not fit to act the role. If Woody would choose actresses that can act better, rather than choosing ones on the basis of his relationships off film, his movies would be twice as good.

We are blessed that Woody was around, making movies as interesting as this when he was.

Already with this one, he began his vast exploration of movie techniques and devices that would last 25 years or so.

The idea is simple in this one: he wanted to use film slapstick from a bygone era. How better to situate that than to move the whole picture into a future era?

We have some truly classic stuff here. The banana joke, The mirror joke. The robot pantomime. The acting out of the Jewish dinner (done in later movies too). The inflated man joke. You can find all these in any number of Keaton. Marx, Laurel & Hardy movies.

The unifying string of time travel, a romance, the leader and his nose is too weak to make this a solidly recommended outing. And it wouldn't be for a couple years until Woody cared about the cinematography at all.

I had forgotten how pretty Diane Keaton was. Very.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

Not sure I had ever seen this before and found it quite a pleasant surprise. It is not as funny as, I'm sure, it is supposed to be but that is because one or two of the jokes are pertinent both to a place and time not now familiar. There is also a fair reliance on slapstick, which is not as Allen seems here to suppose, just running around, something funny should actually happen. The trad jazz accompaniment for which Allen contributes clarinet is great and helps things enormously. For the most part it is likeable and amusing enough with both Woody Allen and Diane Keaton most engaging. The pacing is good, the effects perfectly fine and if not laugh out funny then a very pleasant 90 minutes.

Slapstick combined with razor sharp dialogue.

The film is pure magic, its my favourite comedy and I think it is in my top three Allen films of all time.

See it if you like the Marx brothers, Woody is all of them rolled into one in this film, it's utter genius. Woody also plays the jazz music which scores the film, and you know you're in for a treat when hearing the first few bars makes you smile. There aren't many comedies out there which could top this in terms of low budget, gags-per-second ratio, music, and sheer quality.

If a film could save your life (as in Hannah and her sisters), it's this one.

Woody Allen is such a staple of New York and city-living that it's a hoot to see him at the center of the far-out futuristic surroundings in "Sleeper". His nuttiness isn't tempered by the visual gimmicks, and the movie is both recklessly daffy and wonderful to look at (it's great eye-candy, one of his best designed pictures). Allen's screenplay, co-written with Marshall Brickman, about an ulcerous health food fanatic frozen in 1973 and thawed out 200 years later, is a doodle that desperately has to work up new subplots just to keep going, and the entire brainwashing thread is wearing (although it does allow Diane Keaton to do an impersonation of Brando which is very funny). The film is decidedly shrill, and the neurotic one-liners (mostly about sex) seem to come from nowhere. Still, the movie has a lunatic decadence to it, and a kind of nostalgic abandon, which makes it both silly and edgy at the same time. *** from ****

Not among my favourites of Woody Allen's films, but among his better ones and a contender for his best and most polished film pre-Annie Hall. The last third is not quite as good as the rest, not as fun and the pace is a little draggy in spots. However if you love Woody Allen you will love Sleeper, it is one of his funniest films and along with The Purple Rose of Cairo one of his most accessible too, non-fans even might like it too. Visually it is perhaps his most polished pre-Annie Hall film and unlike some of his earlier films like What's Up Tiger Lily? there is a sense he was finding his voice(which he properly found in Annie Hall). The jazz score is wonderfully soulful and seductive, the story goes at a very brisk pace(if there is any Woody Allen film that you'd call "boring", a word I hate using when reviewing films, Sleeper would definitely not be it), and the surrealistic quality it adopts is hypnotic and is not misplaced at all. The script and gags are among Allen's funniest(laugh-a-minute quality) and to the point, the part where Allen disguises himself as a robot is definitely a stand-out and ranks among the funniest he's ever done. The dialogue is brilliantly witty and very quotable. Viewers will also enjoy the homages to past great comedians like Chaplin and Keaton as well. Allen directs assuredly and gives a great comedic performances that ranks among his best, and Diane Keaton's is one of her most alluring and charming, her comic timing not disappointing either. Overall, quite brilliant, not quite among Allen's masterpieces but it does ranks among the better end of his filmography. 9/10 Bethany Cox

A brief interlude that depicts what a neurotic, self-loathing, Jewish man thinks of the future of our existence in 200 years. The plot is as simplistic as possible: Woody Allen is Miles Monroe, his typical neurotic self who is cryptically frozen for 200 years and discovered in the future by doctors. He soon finds out that the world is a dystopian society ruled by a single leader, where people have robot servants, get pleasure from a machine called the "orgasmatron" and the totalitarian police capture anyone suspect of being an alien and wipe their memory.

Along the way of trying to defeat this evil plan, he runs into a self-important poet, Luna, played by the beautiful and charming Diane Keaton. This gives an opportunity for Allen to inject some of his famous banter, and fortunately there are some terrific one-liners in this film. Allen has always attempted to combine his love of stand-up and more deeper themes such as Freudian analysis and philosophical discussion in his films and he does here as well, although it feels a bit out of place. He also paces the film so fast that we hardly have time to react to his jokes, be they verbal or physical.

The main thing to take from this is the sheer ambition and bravery Allen shows in attempting to take comedy to a different level and direction. Certainly, he would modify and perfect his style and writing, but his early experiments still prove funny today and much better than nearly all comedies produced in the last ten years.

Review: What a strange and wacky movie. To be honest, I lost the plot halfway through the film, but some of the scenes are really funny. I think that this is Woody Allen's slightly warped look at politics in the 70's which sees him on a mission to destroy a nose. Like most Woody Allen movies, there is a love interest and this is film she is played by Diane Keaton, who cracked me up with her funny expressions and crazy lines. I definitely saw a bit of Charlie Chaplin in Allen's acting, which was quite physical compared to his latter movies. Anyway, this is a off the wall type of movie which has some funny moments. Enjoyable!

Round-Up: For a movie that was made in 1973, $2milion dollars was quite a big budget and you can see were the money was spent in some of the extra ordinary scenes and weird costumes. It does seem a bit dated but it's a unique comedy that reminded of classic films like Dr. Strangelove and Clockwork Orange. It does get a bit out of hand near the end, but I liked the chemistry between Allen &  Keaton and you can't say that it wasn't original for its time.

Budget: $2million Worldwide Gross: $18.3million

I recommend this movie to people who are into there Woody Allen movies about a man who wakes up 200 years in the future after a operation that goes wrong. 6/10

I was a bit disappointed with "Sleeper" in comparison to other early Woody Allen films. This is most likely due the amount of slapstick comedy, which I found to be a little too alien for a Woody Allen picture. This is not to say that the slapstick was not funny at times, just that Woody Allen really excels at plot/dialog driven comedy and the slapstick became redundant and the humor was lost. However, this should not detract from how funny this film is especially in comparison to most of today's silver screen comedies, even recent Woody Allen contributions.

Putting the slapstick aside, "Sleeper" employed a lot of Sci-Fi archetypes: the sleeper, an American dystopia with an Orwellian "Leader," androids and machine living, cloning, and so on. Unfortunately, Woody Allen doesn't really joke on these Sci-Fi conventions, instead the film mocked American pop culture up to 1973. This dates the film more so than the antiquated look of the "futuristic" computers, and in my opinion, a missed opportunity to give some really good jabs to the Sci-Fi genre.

A freezer-burned Woody Allen emerges from a lengthy cryogenic slumber to apply his own specific brand of humor to the late 22nd century. At times overly topical and horribly dated, this is really at its best as a flippant physical comedy. Even then, the puns and gags are stretched awfully thin, with blatantly sped-up footage and a ragtime soundtrack giving it the look and feel of a futuristic Benny Hill. Allen's pokes and prods about the evolution of society are occasionally good for a snicker, particularly the advent of technology supplanting our need for sex, drugs and organized religion, but the central storyline is so thin and inessential that the whole mess feels like a series of vaguely-related skits. The glut of weak, DIY-esque backdrops and special effects make the arrival of Star Wars just four years later seem even more impressive by comparison. Mildly silly at best and utterly dull at worst, it's not something I'll be revisiting again soon, if ever.