4
0
1
2
1
It’s a relief when the talking/screeching version of Day has an accident and the silent version takes over. He manages the pratfalls and double-takes well enough. He’s no Keaton, Chaplin, Begnini, Sellers or David Hyde Pierce, to name some of the great physical comics of ancient and recent vintage. There’s no shame in that.
The film sprints past its targets, dealing glancing blows to subjects that have already been obliterated by decades’ worth of Tinseltown parodies.
If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.