6.2/10
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10 user 5 critic

Never a Dull Moment (1968)

When practicing for a role, actor Jack is mistaken for the killer Ace. He doesn't realize this until it's too late and is carried off to gangster boss Leo Smooth, who wants Ace to do a job ... See full summary »

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Cast

Complete credited cast:
...
Jack Albany
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Leo Joseph Smooth
...
Sally Inwood
...
Frank Boley
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Melanie Smooth
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Florian
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Cowboy Schaeffer
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Ace Williams
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Rinzy Tobreski
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Bobby Macoon
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Francis
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Fingers Felton
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Storyline

When practicing for a role, actor Jack is mistaken for the killer Ace. He doesn't realize this until it's too late and is carried off to gangster boss Leo Smooth, who wants Ace to do a job for him. Fearing for his life, Jack plays his role, but always searching for a way out of the well-guarded house. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

Plot Summary | Add Synopsis

Taglines:

They're having such a wonderful crime...it's a shame to call the police! See more »

Genres:

Family | Comedy | Crime

Certificate:

See all certifications »
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Details

Official Sites:

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Release Date:

26 June 1968 (USA)  »

Also Known As:

...og så blev der ballade  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.75 : 1
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Did You Know?

Trivia

This was the last film in which Edward G. Robinson portrayed a gangster. See more »

Goofs

When Sally is giving Smooth his art lesson, he says he will put more red on the canvas, but uses blue paint instead. See more »

Connections

Referenced in Getting Wasted (1980) See more »

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User Reviews

Accurate Title... Read on to Find Out Why
8 September 2005 | by (Wales) – See all my reviews

The title is quite true. There is never a dull 'moment' in this film, simply because the entire movie consists of 100 dull minutes. Van Dyke plays a bit-part actor who becomes entangled with gangster/mob type caricatures stealing a valuable painting, and other such dross. (On that note the film is about as lacklustre as the 1965 co-production 'Theft Of The Mona Lisa'). The director seems to have been offered an entirely different script to the one offering the audience alleged 'comedy', which is regrettably confined to Van Dyke's "unique" brand of muggery (eg Lt Robinson Crusoe, 1966).

Ed G Robinsons presence is not even worth mentioning, in the hope that it can be overlooked in summation of his career's overall contribution to American movie history and development.

An inept, feeble-minded vomition of the sort of pap that elucidates any mystery surrounding why such a tycoon as Walt D should have ended up bankrupt.


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