Cult Review
Senior Film Conservator

Look, if you are looking for a tight, modern thriller, keep scrolling. You’ll probably hate this if you get annoyed by characters who make decisions just because the plot needs them to walk through a door. But if you have a soft spot for older, slightly dusty ensemble comedies where everyone is shouting a little too much, you might actually find this endearing. 🐪
It’s not a masterpiece. It’s not even trying to be one. It’s just people running around, dealing with travel mishaps, and looking very well-dressed while doing it.
The whole thing feels like it was filmed on a set that was maybe one room too small. There’s a frantic energy to the way they move from scene to scene, like they were worried the film stock was going to run out at any second. Enriqueta Soler is doing a lot of heavy lifting here. She has this way of looking at the camera that says, 'I know this is ridiculous, but let's just go with it.'
There is a scene halfway through—I think it’s in a train station?—that lasts for an eternity. It’s just people walking in circles and dropping hats. It’s genuinely funny in a way that feels completely accidental.
It’s funny how some movies just feel tired. This one doesn't. It’s hyper, maybe a little too much so. It’s nowhere near as intense as Five Star Final, which is probably for the best because my brain needed a break from all the gloom.
Honestly, I stopped trying to follow the 'story' about twenty minutes in. Once I just let the actors bounce off each other, it became much more enjoyable. It’s a bit like watching a bunch of friends try to organize a trip and failing spectacularly. We’ve all been there, right? Minus the period costumes, anyway.
I’m not saying it’s essential viewing. But it’s not bad for a quiet Sunday afternoon when you don't want to think too hard. Just don't ask me what the ending meant, because I’m pretty sure the filmmakers didn't know either. 🎬

IMDb 7.2
1929