4/10
Senior Film Conservator

A definitive 4/10 rating for a film that redefined the boundaries of cult cinema. Static remains a cornerstone of transgressive art.
Honestly? Only if you have a weird itch to see what 1928 audiences found funny. If you’re a fan of early talkies, you might get a kick out of the historical context, but everyone else will probably be reaching for the mute button within five minutes.
The whole premise hinges on the idea that radios are hilarious just by existing. There’s a lot of screeching sound effects that are supposed to be static, but they mostly just sound like a cat being put through a blender.
Tom Howard and his onscreen cousin run a shop that’s basically a graveyard for broken appliances. It’s supposed to be a comedy, but there’s this weirdly tense subplot about protection money that feels like it wandered in from a different, grittier movie. It never really gels.
There’s this one scene with Walter Soderling that’s bizarrely specific to its time. He walks in and starts screaming about the lack of an NRA Eagle emblem in the shop window. It’s like, okay, we get it, you’re patriotic, but can you please just buy a vacuum tube and leave?
The movie is desperate to prove it has sound. Every few seconds, someone triggers an explosion or a radio whistle just to remind you that, yes, this is a talkie. It gets old fast.
It’s not quite as rough as Vultures of Society, but it’s definitely not a lost masterpiece. You can tell they were just excited to play with microphones, and they didn't really care if the script made much sense. 📻
Sometimes the sound mix is so bad you can barely hear the dialogue over the constant buzzing. It’s like listening to a neighbor’s bad garage band practice through a thick wall. I kept waiting for a joke to land, but the only thing that landed was the realization that I could be doing literally anything else.
If you're looking for early cinema that actually holds up, maybe skip this and go watch The Wise Kid instead. At least that has a pulse.