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7 out of 10 people found the following comment useful :-
Weird And Wonderful, 9 February 2001
Author: Professor Abronsius from Suffolk, England

A truly bizarre film, but all the more entertaining because of it. Starts off in the style of a 1930s science fiction, and just seems to get stranger and stranger. I particularly liked the guided tour of the lunar surface for the paying tourists who laughed when their guide made a comment on the crashed Soviet probe she drew their attention to. The idea of native "moon people" (who look like native Hawaiians), also being another nice touch. Obviously, there was a very creative mind at work here.

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2 out of 2 people found the following comment useful :-
A Homeless Man Told Me All The Secrets Of The Universe Today!, 28 April 2009
8/10
Author: Joseph Sylvers from United States

Zach Galligan of Gremlins fame, stars in this strange lost film, from a former SNL writer, Tim Schiller, in the 80's. This was produced by Lorne Micheals, and features cameos from Dan Akroyd as a Holland Tunnel inspector (who uses the only instance of profanity, this movie is PG) and Bill Murray as the villainous Captain of an interstellar bus which transports the elderly to the moon. Galligan is a young man whose been abroad for years, and returned home only to find that the New York Port Authority has seized control of the city, due to traffic problems. Galligan is a naive but kindly upstart who knows only that he wants to be an artist. After failing the mandatory "art test" used to determine, who is an artist and who isn't, he is forced to work at the Holland Tunnel with Akroyd, but not for too long, as he meets a fellow artist, falls in love and is taken through a short montage of the new york art world. The setting is essentially timeless, at one point, it suggests the thirties, at another they mention the 50's as part of the past, and at one brief moment, there's a strong hint of 80's, but the film is shot in black and white mostly, and made to resemble a science fiction from an earlyish period from the last century, 30's, 40's??? The plot takes a few turns from here which are surprising and fantastical and not to give away too much, but unfortunately since this movie has NEVER been released on home video or DVD(and doesn't seem likely too), I'll give a way a little more of what's to come...New York as you know it may be an illusion, the homeless are the secret masters of the city and possibly more, and the elderly have been taking routine bus trips to the moon since the 50's, they have chips in their heads which make them say "Miami" every time they even think the word "Moon", so they can't tell anyone. All of these plot elements are told with a matter of factness and a touching sweetness, at no point does this film become cynical, mean, perverse, or pretentious (not something most films as rare and surreal as this can claim). Others have rightly compared it to both Terry Gilliam and Woodey Allen at their most fanciful, but there's a sweetness to this, which gives it a charm all of its own. It's completely unique, very clever, and unusually heartwarming. See it by any means necessary, and as the secret society of bums commands,"Fear not, love all".

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5 out of 8 people found the following comment useful :-
A charming and engaging comic fantasy, 19 May 1999
10/10
Author: barfly99 (patrickleedazzle@hotmail.com) from London, England

It is rare that you find a film that is truly unique, but NOTHING LASTS FOREVER is one of those films. It looks at times like a 'thirties romance, at others like a 'fifties B-movie, but plays like neither. Clever, witty dialogue is spiced up with pretty songs, and Zach Galligan is surprisingly likeable as the aspiring artist in a surreal New York. Although in many ways a slight and insubstantial film, its gentle, off-the-wall charm makes it a quite unforgettable viewing experience. After all, how many other films have you seen recently featuring an Hawaiian dance routine set on the moon?

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6 out of 10 people found the following comment useful :-
A friendlier version of "Brazil", 9 February 2004
8/10
Author: ubercommando from London

This movie shares some similarities with Terry Gilliam's "Brazil". The mixing of 1930's and 1980's, the totalitarian state that pretends to be caring, a mix of freaky supporting characters and subtext behind every shot and concept. But Nothing Lasts Forever is lighter and more optimistic in tone and a modern (ish) fairy tale of searching for one's talent and purpose. The concepts of the Manhattan Port Authority taking control of New York, underground Angels, going shopping on the Moon in a bus and Bauhaus German techno artists in a mock 30's setting all show great creativity and originality; often missing in a lot of American comedies. And it also works the soundtrack (a mix of original and classical music) into the story extremely well.

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2 out of 4 people found the following comment useful :-
Not even cold November rain?, 22 January 2002
10/10
Author: zmaturin from several floors below the Earth's surface

*** This comment may contain spoilers ***

[spoilers] This was one of those neat little movies that I had never heard of, but when I saw it I knew it was something special, like "Forbidden Zone", "The Big Crime Wave", or "The Projectionist". It's one of those movies that must be experienced as it's full of weird surprises, odd tangents, and imaginative details. It starts out like a perfect imitation of an old 1950s black and white movie, and I might have thought it was if not for the presence of a fresh-off-of-Gremlins Zach Galligan. It blends old stock footage with new stuff seamlessly, and slowly gets more and more strange, until the film starts fading in between B&W and color as Galligan discovers a secret society under New York City and ends up being sent to the moon to find his true love.

It was directed by Tom Schiller, who did short films for Saturday Night Live, and features a surprising cast including Dan Ackroyd, Bill Murray (who's great as always), Imogene Coca, Lauren Tom (currently the voice of Amy Wong on "Futurama"), Mort Sahl, Eddie Fisher, Calvert DeForest, and Lawrence Tierny. Everyone in the cast acts as if they were in a "normal" movie.

So if you can find this, it's worth watching. I liked it. Yup. Sure. It was good. Uh-huh. Yeah. Affirmative. Yes-sirree-bob-a-roonie. It was SWELL. Great. Cool. Ginchy. Yup. It was super-duper, superlative, and neat-a-rific. Yup. Sure. It was good. Uh-huh. Yeah. Affirmative. Yes-sirree-bob-a-roonie-doonie-woonie. It was sweet. Great. Cool. Ginchy. Yup. It was phat, super-duper and tip-top. Yup. Sure. It was both pleasant and quality. Uh-huh. Yeah, yup, yes-sirree-bob-a-roonie. It was SWELL. Great. Cool. Ginchy. Yup. It was super-duper, superlative, and neat-a-rific. Did I say that already?

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4 out of 11 people found the following comment useful :-
Awful fantasy comedy that fails in every respect., 7 January 2007
1/10
Author: fedor8 (fedor8@yahoo.com) from Serbia

*** This comment may contain spoilers ***

Fortunately this film doesn't last forever, either. An aspiring "artist" gets to become one when he proves to some (semi-) imaginary underworld hobo-society that he is capable of falling in love with an Asian girl that lives on the moon and does a bit of a hula-hula greeting dance for the geriatric Earth visitors. Sound stupid? It is. This ridiculous mess has maybe one funny moment, the rest consists of boring musical numbers and pointless dialog. The aim was originality, yet manages only to be dull. They tried to create an old-movie feel to it by using a more traditionally-oriented instrumental soundtrack, which is a lot better than the tiresome songs. It also tries to create an old flair by having a wide-eyed, innocent male lead. Excuse me, but how does that image fit in with the scene where he is shown humping the German girl? I hardly think Capra's films would have had the same impact on the viewers if Gary Cooper had been shown being ridden by his female co-stars. (Or that famous scene in "Gone With the Wind": imagine if Gable were coming inside Leigh and she complained about not getting an orgasm, to which he responds "Frankly, dear, I don't give a f***".) And what's with the b&w/colour transition? It makes no sense at all. This film is an example of what happens when a TV producer tries his hand on a feature film. Ackroyd (in a tiny role) and Murray (in a small role) can't help this time-waster, either.

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