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It's basically a polished version of the farces he cranked out in the '70s as 1-day wonders, but its polish has diluted the verve and lively qualities of the cheap antecedents.

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It's basically a polished version of the farces he cranked out in the '70s as 1-day wonders, but its polish has diluted the verve and lively qualities of the cheap antecedents. Was this review helpful to you?

Oddest element of the movie, and likely its only enduring feature, is Costello's decision to use foggy day shots of NY's Twin Towers for transitions between scenes, even ending the picture with a zoom-in on the Ground Zero landmarks. Who knew this could add poignancy to an otherwise yawner of a porn comedy?

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Even the basic premise of him being sturdy while plotters think he's a frail old guy about to kick the bucket makes no sense because Knight died from sex in the first place to set the creaky plot rolling. Complications from this charade are predictable and unfunny, despite good performances by Sharon Kane and Ron Jeremy as schemers who want the guy Knight takes over to die from strenuous sex and leave them his money.

Obviously he should look like the inhabited body's person, as that is what all the other characters see and what we the audience should see. Costello makes the same structural mistake heaens that famous film, namely when hero Michael Knight is given the opportunity by angelic guide Veronica Hart non-sex role to live on after death in other men's bodies, he looks exactly the same throughout, just like Warren Beatty did.

Knight, whose big heaven became familiar from appearing in the late '80s in escorts videos especially those directed by Joe Sarno, gets to do a lot of humping, but has no facility for comedy.