That was an excellent one.

Lack of good storyline.

The film makes a home in your brain and the only cure is to see it again.

It’s sentimental, ridiculously long and only occasionally funny

The original Mel Brooks movie is a classic, about two impresarios deliberately making a flop stage show that becomes a success, then the movie was turned into a real successful Broadway show, then this stage show is turned into a remake movie, and ironically, it flops, but I still gave it a chance. Basically Max Bialystock (Golden Globe nominated Nathan Lane) was once a top Broadway producer ("Opening Night"), but is now washed up, and resorting to wooing and seducing wealthy elderly women to raise money for his shows, many becoming flops. Nervous and hysterical Leo Bloom (Matthew Broderick) is an accountant sent from Max's firm to study his books, and in doing so he finds that his last show raised more money than was required. Leo makes a passing comment that selling shares and embezzling in a show that is guaranteed to be a flop could generate a fortune, more than that of a hit show that runs and runs, Max tries to convince him to run with this scheme ("We Can Do It"). Returning to his accountancy firm, Leo fantasises about being a Broadway producer ("I Wanna Be a Producer"), he decides to quit his job and forms "Bialystock & Bloom" with Max. Max and Leo search for the worst play ever written, and they find Springtime for Hitler, a musical celebrating the Führer, written by an ex-Nazi named Franz Liebkind (Golden Globe nominated Will Ferrell), they meet with Franz to acquire the rights to the musical, performing Hitler's favourite song and taking "Siegfried Oath" ("Der Guten Tag Hop-Clop"). To ensure the play's failure, they also seek the worst director possible, they meet flamboyant director Roger De Bris (Gary Beach) and his assistant Carmen Ghia (Roger Bart), Roger is reluctant to direct, but Max and Leo suggest he could win a Tony, he agrees, on the condition the play be more "gay" ("Keep It Gay"). Back at their office, attractive Swedish woman Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson (Uma Thurman), or simply Ulla, appears to audition, Leo says that they have not started casting, Max hires her as a secretary until she can audition ("When You've Got It, Flaunt It"). To get the money they need to produce the show, Max has dalliances with several elderly women ("Along Came Bialy"), allowing him to raise the $2 million, while Leo shares a kiss with Ulla ("That Face"). Franz is angered at the auditions for role of Adolf Hitler by a performer's rendition of a German song, he storms the stage and performs it himself ("Haben Sie gehört das Deutsche Band?"), based on his performance, Max hires Franz to play Hitler. On opening night, the cast and crew are preparing, Leo wishes everyone "good luck", but everyone warns him that this is bad luck, he should say "break a leg" ("You Never Say Good Luck on Opening Night"). Franz leaves to prepare and breaks his leg, Max needs someone to take over the role of Hitler, he asks Roger to perform, as he knows the lines, Roger accepts. As the show opens, the audience is horrified at the first song ("Springtime for Hitler"), with some walking out in disgust. This is until Roger enters as Hitler, his flamboyant interpretation creates laughter, the audience misinterpret the play as satire, resulting in the show becoming a smash. Max and Leo realise they have failed to create a flop, and they argue that the IRS will learn of their crimes, then Franz appears with a gun to shoot them for breaking the Siegfried Oath by mocking Hitler, the gunshots alert the police, Franz breaks his other leg as the duo try to evade the police. Max is arrested and imprisoned for tax fraud, while Leo gets away to Rio de Janeiro to marry Ulla ("Betrayed"), but at sentencing, Max is saved by Leo, who returns to defend him ("'Til Him"). The judge (David Huddleston) realises Max and Leo are inseparable, they are both sentenced to five years at Sing Sing Prison with Franz, there they write and produce a new musical ("Prisoners of Love"). Leo, Max, and Franz are pardoned by the governor for their work, allowing them to collaborate with Roger and Ulla and release Prisoners of Love, this hit play means Max and Leo go on to become successful Broadway producers. Also starring Jon Lovitz as Mr. Marks, This Is Spinal Tap's Michael McKean as Prison Trustee, Richard Kind as Jury Foreman, John Barrowman as Lead Tenor and Mel Brooks as himself, and the voices of Tom the Cat and Hilda the Pigeon. Lane and Broderick are nowhere as good as Gene Wilder and Zero Mostel, but they are just about passable as the leading duo, Thurman is beautiful and amusing, and Ferrell is amusingly ridiculous. The original premise story, premise and format remain pretty much the same, it is different with the more colourful production, and the obvious addition of songs, those from the show are fine, there are some additional ones that don't work as well, and it has been made a longer film which is a bit annoying, overall it is an alright musical comedy. It was nominated the Golden Globes for Best Motion Picture - Comedy or Musical and Best Original Song for "There's Nothing Like a Show on Broadway". Okay!

What a weird journey 'The Producers' has had. First a film, then a musical, then this, a film based on the musical.At the centre though is the ultimate bad taste musical, with some very catchy songs and some sharp lines.Are Broderick and Lane a good team on screen? Of course. They more than carry some of the slower points of the film/musical and play their parts with apparent ease.I wasn't as keen on Will Ferrell (at the peak of his powers when this was made) or Uma Thurman, but they are really just two in a long line of oddballs that pop up in this film.I enjoyed it, probably when I shouldn't.

A little more music and embellishing of several plot points that were passed over in the original film are what distinguishes this musical version of The Producers. It's a musical version about a film that had a plot about two men who try to create the biggest flop in the history of Broadway and a musical.Taking the places of Zero Mostel and Gene Wilder as the producing partners Bialystock&Bloom are Nathan Lane and Matthew Broderick. Both these guys are given an impossible task of repeating two classically congruent performances that Mostel and Wilder created. Even the additional bits of business just can't make me forget the original. Will Ferrall did not come over from Broadway to do the role of the hermit like Nazi living in Greenwich Village and caring for his carrier pigeons. He had to do double duty because he also took the place of beatnik method actor Dick Shawn from the original. I'm not sure that combining the roles was the best thing, I'm also not sure Ferrall did real justice to either try as he might on both. Kenneth Mars was the reclusive Nazi author of Springtime For Hitler. in the original. Both he and Shawn were almost as memorable as Mostel and Wilder.I do love the Mel Brooks humor, but I think he laid it on a bit thick with the gay stereotyping of Gary Beach and Roger Bart. It came this close to the good side of being offensive, but not quite.There's a lot to like in this version of The Producers, but I think Mel should not have touched his masterpiece.

I had great expectations of this movie; after all, I had watched the original 1968 version and enjoyed it very much. However I was never more bored watching endless Broadway songs one after another during the whole movie. The dialogs were dull, and the few laughs it offered were not enough to make up for the remainder of the movie. I feel like I wasted an hour and a half of my life. The original movie contained an actual story; whereas here we are greeted with songs interspersed with a few lines of actual dialog. I expected a lot better from this cast, but unfortunately, while trying to create a flop, they flopped themselves in a major way.