Please don't spend money on this.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Harold Lloyd had switched from his Lonesome Luke character to his more normal looking "Glasses" character the previous year. He had insisted on this because he felt that he wanted to be able to do more than Chaplin-at-Keystone slapstick comedy. In this one, he's still doing that style of comedy -- with a coda that suggests Chaplin's Mutual short THE ADVENTURER -- although there' s little to complain about in this one, It's quite funny.Harold, dressed in formal morning clothes, snags a ride with Snub and Bebe to go a picnic. There are several good, rough gags along the way, and Harold gets to do some good pratfalls and kicks, as well as a good, early thrill gag. If you're looking for a story, or character, as Harold would later offer when he worked at greater lengths in the 1920s, you won't find those here, but you will find some well executed jokes and gags. Producer Hal Roach was definitely building a team that could build good comedies.

Though this is perhaps the funniest title card during this 10 minute, 19.92-second Harold Lloyd silent, black & white comedy short, Lloyd historians Richard Correll and John Bengtson agree on their commentary track for this piece of film history that that line probably contains a typo. The Harold Lloyd character has just fallen on a bar of soap dropped by a maid for the residence he's walking past, and he threatens to "sue." That's when the maid says, through the title card, "Clam yourself, mister--my name ain't sue" (evidently, she is not only clumsy, but also hearing-impaired). Just before this tragic incident, the foppish Lloyd character has flipped his last quarter to decide on whether using it to pay for a much-needed haircut, or to purchase a desperately-required lunch--and the quarter has rolled into a sidewalk storm water grate! All in all, it is not this man's day, as bad transforms to worse, and he finally winds up being shot at by prison guards!

Take a Chance (1918) *** (out of 4) Harold Lloyd plays a young man who slips and meets a wash lady (Bebe Daniels) and quickly falls for her. When a rich man ('Snub' Pollard) shows up and takes her to the park, Harold follows them but then ends up getting mixed up with an escaped convict. TAKE A CHANCE is certainly going to appeal to silent buffs and especially fans of Lloyd who gets to show that early slapstick, which is just worked to perfection here. There are several highlights here but one involves Lloyd stepping on a bar of soap and then slip sliding all over the place. The physical talents of Lloyd here are incredibly funny. Another great sequence is when he hides in the backseat of a car and makes Daniels and Pollard turn against one another by kissing her and slapping him. The final few minutes of the picture turn into one long chase as Lloyd is mistaken for an escaped prisoner and we get a lot of funny stuff here. A lot of it deals with some silly cops you can't do anything right but these guys are actually much funnier than even the Keystone Kops. As I said, Lloyd really does a fantastic job here and Daniels is as charming as ever.

Harold Lloyd is absolutely amazing in this two-reeler. His slapstick comedy has pitch-perfect fluency, and his recreation of events is well-observed. He is an eye-witness of his times, and a with a good voice-over his work is compelling.