Inclubabu Plot so thin, it passes unnoticed.

LouHomey From my favorite movies..

GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Edgar Allan Pooh . . . and on to "Darnation Milk" ("from cheerful cows") as well as hieroglyphics extolling Egyptian cigarettes, LIGHTS FANTASTIC thoroughly explicates the mindset of American advertisers--then and now. Like all the movie studios at the time, Warner Bros. had its share of run-ins with U.S. censors. For example, the first talkie version of THE MALTESE FALCON (1931) features a topless bathtub scene for the actress in the role famously inherited by Mary Astor in the second remake a decade later. But what a difference those ten years made! Well before the 1940s, America had adopted its puritanical sharia law that persists in many sectors of Society through today's 21st Century. Warner Bros. lampoons this pointless prudery by self-"censoring" this cartoon's can-can dance--performed by four dancing cans in skimpy skirts! Whenever these food tins face backstage and bend over for the "big reveal," the animators insert a black screen! That is, until the final "bottoms up" for "Face and Sunburn" Coffee (then known as Chase and Sanborn in the Live Action World) shows this message above the cans' finally revealed cans: "It's dated!" with the can bottoms all reading "Jan. 5, 1942." That coffee may be somewhat stale by today, but the idea that censorship has outlived its expiration date couldn't be fresher!

TheLittleSongbird Not the most original of Fritz Freleng's cartoons, with a concept that later cartoons would explore later and perhaps at times to slightly funnier effect. But that doesn't take away from that Lights Fantastic is thoroughly entertaining and a delight to watch. The animation is lush and fluid, with great care evidently taken with the details and drawing, and the shots of Times Square are positively glitzy. The music is catchy, wonderfully orchestrated and full of energy, it has a remarkable ability to synchronise as well as it does with the action(like the best of WB/Looney Tunes/Merrie Melodies) and also to add to it. Lights Fantastic is never less than amusing, at its best it's hilarious and has Freleng's style all over it. The play on words are snappy and smart and the eye test gag is really funny and inspired stuff. The pacing is crisp, never feeling dull, the characters are eccentric and fun and Mel Blanc's vocal characterisations are dead-on, bringing so much life and distinction to each character he played(in Lights Fantastic and every WB/Merrie Melodies/Looney Tunes he did). All in all, not quite classic but lights up in a fantastic way. 9/10 Bethany Cox

Lee Eisenberg Sort of an updated version of "Billboard Frolics", Friz Freleng's eye-popping "Lights Fantastic" depicts a bunch of billboards - apparently around Times Square - putting on various skits. This cartoon really shows off Freleng's penchant for synchronizing music and action (especially with the conga beat). Freleng also made ample use of this in "Pigs in a Polka" and "Show Biz Bugs".Mostly this was a place holder in 1942. By that point, Bugs Bunny was the undisputed Warner Bros. cartoon star, Chuck Jones had totally eschewed cuteness in favor of slapstick, and the United States' entry into WWII prompted a series of cartoons portraying the characters battling Nazis. But this was certainly a good place holder. Very similar to "Billboard Frolics", true, but I recommend it.

runar-4 This cartoon is a good example of the fact that while Friz Freling was technically excellent, he was possibly the least imaginative of the directors in the Warner's stable. Lights Fantastic is essentially a rehash of _Billboard Frolics(1935)_(qv) and showcases Freling's tendency to recycle gags in multiple films. This is not to say that Lights Fantastic isn't entertaining - it is and it gives you a chance to enjoy Freling at his technical best, but it also reveals the dichotomy inherent in the canon of his work. Another reused routine (appearing for the second time in _Show Biz Bugs (1957)_(qv)) is the trained performing pigeons that flew out the theater window instead of doing their act. _Bugs And Thugs(1954)_(qv) and _Bugsy And Mugsy (1957)_ both have material cribbed from _Racketeer Rabbit(1946)_(qv). Yosemite Sam stands out as Freling's best creation, from his introduction in _Hare Trigger (1945)_(qv) to the mid 1950's when the character ran out of steam.