SnoReptilePlenty Memorable, crazy movie

Comwayon A Disappointing Continuation

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

davidjacomb Wow. This show is a wow.. I honestly think this is the worse comedy show in a long long time. I can not believe how bad this show is. David Jason has ended his career with a big fat stinker off a show. This program is so dated, story lines, aged jokes, poor stereotyping off people and cultures and even worse suggestive sexual innuendos. This show has no place in 2017 its a relic to say the least. You have actually got to watch this show to see how bad it is, its alarming. David Jason retire and grow old gracefully. His done his self no favors with this Turkey off a show on the back off The Queens Bodyguard..................

thejimsmithuk Reviewer "dhysom" rages at the series for having a "canned" laughter track, calling it "moronic", clearly unaware that the series is, like almost all UK sitcoms, shot before a live studio audience. That isn't "canned" laughter. It's the people in the stalls. He might not like the programme, as is his right, but he's objectively wrong about it being "canned" laughter, with this inaccuracy making his insults seem even more puerile. Other reviews lambast the BBC for daring to make a sequel to Open All Hours. But this series is entirely written by Roy Clarke, the creator and sole writer of Open All Hours. It was always his series and these are his characters and situations. Surely he has an absolute moral and legal right to use his own intellectual property? (BBC programmes are, for historical reasons, usually owned by their writer/creators, not the corporation, which has usually been more honourable in this respect than US networks. Or even UK commercial channels.) Given that the first episode was seen by 12.23m people in the UK, and was one of the ten most watched programmes of the entire year for 2013, there is clearly a sizable audience that is happy for him to do so. Me? I think it's a silly, family-friendly, old-fashioned sitcom, which occasionally shows unexpected depths of character and theme. The performances are all immaculate, especially David Jason and Stephanie Cole. I also appreciate Clarke's decision to reflect the ethnic diversification of Northern England since the original all run ended, showing a Muslim family, headed by Nina Wadia, living near the shop, and another British Asian family featuring her Goodness Gracious Me co-star Kulvinder Ghir. While unlikely to break new ground or win awards, Still Open All Hours is a well thought out update of a classic series, which clearly commands an audience.

ian-199-126642 The original show was brilliant. Mrs and me have watched and re- watched episodes down the years and still have time for them.The problem is not so much that the humour is dated. The 'dated' humour of the originals works very well for us and most recent stuff leaves us cold. We can watch Miranda Hart for hours and never smile once. We can watch Dad's Army, Blackadder, Porridge, Fawlty Towers and Open All Hours repeatedly and just keep laughing and loving them.No, the problem is that Ronnie Barker has gone. He was a comic genius that lifted Open All Hours out of the ordinary, along with the fantastic cast around him and the strong interplay of characters of which he was the hub.David Jason may or may not be in quite the same class as Ronnie, but he certainly has class and does a great job of being an older Arkwright-like Granville. The trouble starts with Granville's son, who seems to be a characterless non-entity who doesn't function as a comic foil and counterweight in the way that Granville played on near equal terms against Arkwright. Nurse Gladys has been reduced to an appendage, since the 'relationship' with Arkwright is no longer there to give the part its special place. Nice to see her again, but what's she for now?And I'm afraid I keep smelling whiffs of Last of the Summer Wine in the dialogue and run of casting.Still, if enough people like this new incarnation, then it justifies itself, but it isn't the jewel that it was.

l_rawjalaurence Roy Clarke has been one of the mainstays of British comedy writing for over four decades now. Hits such as LAST OF THE SUMMER WINE, OPEN ALL HOURS and KEEPING UP APPEARANCES have kept him at the top of the scriptwriting tree.However there comes a point when all writers are written out; in other words, their comic style is either obsolete or their work is just not funny any more. Sadly this is what has happened with STILL OPEN ALL HOURS, an update of the much-loved Eighties comedy with Granville (David Jason) now in the Ronnie Barker role and James Baxter taking the part of the ingénue enjoying far greater success with women than the younger Granville ever did.Corner shops like Arkwright's simply don't exist anymore; they have either been swallowed up by supermarkets or superseded by chain-store subsidiaries like Tesco Midi or Sainsbury's Local. The idea of middle-aged homemakers shopping on behalf of their spouses is redolent of the Fifties rather than the Nineties: people are far more likely to take their cars out and do a regular weekly shop rather than pop down to the local store for half a kilo of bacon and a packet of tea. Perhaps more obviously, the stereotype of the northern town whose citizens all speak broad Yorksher accents - and who are mostly white - is equally outmoded; in an industrial area where Arkwright's is (presumably) located, the population is likely to be far more multicultural, speaking in a variety of Englishes.What we have in this one-off episode is a cameo-laden cast delivering a succession of weak and mildly bawdy jokes, in the pronounced vocal style characteristic of Seventies sitcoms. Lynda Baron and Stephanie Cole return to their roles from the original series, complemented by Johnny Vegas, Mark Williams and Brigit Forsyth (fondly remembered by viewers of a certain age as Thelma in WHATEVER HAPPENED TO THE LIKELY LADS?). There is a certain air of desperation throughout as the actors strive for laughs, aided and abetted by a studio audience which seems ready to respond to anything, whether unfunny or not.History shows that most remakes, updates or reworkings of much-loved comedies seldom work (remember Paul Merton performing Hancock, or IN SICKNESS AND IN HEALTH, a modern update of TILL DEATH US DO PART). STILL OPEN ALL HOURS sadly underlines the truth of this statement.