Terrible acting, screenplay and direction.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

There are two things about which we need to be more careful with regard to early films. Some 90% of silent films are believed to be lost and we only have a small acquaintance still even with those films we still possess. Every year films are restored and returned to circulation; every year films are newly rediscovered (two Méliès films, a Mary Pickford film and one of the earliest Sherlock Holmes films in the last year to my knowledge). One of the things it is very dangerous to do is ever claim that a film is a "first" in any respect or another. At best, one can say that it is "the first known" or "one of the earliest". This is not, for instance, the first series of films with the same character, although it is a very early one. It is not the first US series containing such a character; it is not even the first Edison series containing such a character. James H. White had already produced a series of films for Edison 1899-1900 containing the character "Jones" whom he played himself.There had already been pseudo-series involving tramp-characters (who came in Edison;s practice to be identified as "Weary Willie", a name taken from a British comic strip and also countrymen (known simply as "Rube" or "Uncle Rube")as early as 1897. Mutoscope's "Uncle Rube" is really not very different from Edison's "Uncle Josh". What is more, "Uncle Josh" is no more an original creation for the cinema than Weary Willy or Happy Hooligan. He very much existed already in the form of "Uncle Josh" Weathersby of Punkin Center in the books and records produced by vaudevillian and monologuist Cal Stewart (1856-1919) who just happened to be one of the star recording artists for Edison's phonograph company 1897-1903. The "Uncle Josh" monologues have very similar titles to this group of films and the name is just a borrowing from Stewart to indicate a caricatural old yokel.Nonetheless the beginnings of a tendency to identify comic characters by name, to make them characters rather than just stereotypes is important and the US was well ahead of the field in this respect. The French, who would later (1906-1914) become the most important makers of such comic series, barely ever identified characters by name before about 1905! A second thing one needs to be careful about are ascriptions. All three of these films are frequently ascribed to Edwin S. Porter but in fact we only know with reasonable certainty about the third film, Uncle Josh at a Moving Picture Show, made a whole two years after the other two. We cannot be at all certain that they were originally conceived as a trilogy and, looking at the films, it seems a bit unlikely.The first two (Uncle Josh's Nightmare and Uncle Josh in a Spooky Hotel)resemble each other but they also resemble several other films made by Edison in 1900 that were clearly intended as a response to the "trick films" of Frenchmen Georges Méliès and which have only very doubtfully been ascribed to Porter (see my earlier reviews of The Magician and An An Animated Luncheon). These two Uncle Josh are distinctly better than the other poor efforts, thanks to the performance of the main actor (we cannot even be absolutely certain that it is Manley who played in these two although he is definitely in the third) but the supernatural effects are still decidedly feeble compared to the films of Méliès.The third film is quite a different matter. This is not a trick film. It is however a remake, this time of a British film, R. W. Paul's The Countryman's First Sight of the Animated Pictures (1901) and pretty much a frame-by-frame remake (even the examples of films are the same) but it is a good remake and the films are of an entirely original kind and on a theme that was at this point innovative (although it would later be worked to death by Sennett at Keystone) and that is of central concern to the early history of cinema. But that perhaps needs to be the subject of a separate review.....Incidentally, I should not take too seriously the claim that Manley was an actor in the theatre at the time of Lincoln's death. A very large number of veteran actors made the same claim and a wit once pointed out that if all those who said they were there really had been, they would have filled the entire playhouse.

Uncle Josh (Charles Manley) was one of the first film character stars--as he appeared three times in Edison films. In this installment, Uncle Josh has gotten some friend to come with him to some haunted hotel. However, as midnight approaches, the friend wants to leave and Josh keeps on preventing him from going. Soon after, a ghost appears and begins messing with the men--getting them to think the other is poking them. Soon, they start knocking each other about and the movie soon ends.This is a cute little movie. It's a shame then that it only lasted about a minute--the norm for 1900. If it could have gone on longer, they could have exploited this situation more instead of making it just a one-gag movie. Interesting to watch but it could have been more.

Uncle Josh's Nightmare (1900) ** 1/2 (out of 4) Uncle Josh in a Spooky Hotel (1900) ** 1/2 (out of 4) Uncle Josh at the Moving Picture Show (1902) ** (out of 4)This Edison trilogy, directed by the legendary Edwin S. Porter, is considered the first film(s) to have a sequel and in fact this is probably the earliest attempt to create a franchise series. It's also worth noting that the actor playing Uncle Josh, Charles Manley, was an actor at the Ford Theatre when President Lincoln was assassinated so there's an interesting bit of history that makes this series worth checking out. In Uncle Josh's Nightmare, the Uncle is in bed trying to fall asleep when the Devil appears in his room and tries to keep him up. Uncle Josh must battle the Devil in order to try and get some sleep before morning. This film is really no different than countless films made by George Melies but it still remains slightly entertaining since there's a lot more action in this film than what we saw in the Melies movies. The action lasts for the entire movie and keeps the film moving well. In the sequel Uncle Josh in a Spooky Hotel, our good guy goes to a hotel to try and get some sleep but as soon as he walks into the room a spirit begins causing him trouble. Once again, this film really isn't any different than what we've seen from Melies but, again, the movie remains entertaining throughout. The special effects of the spirit coming up isn't the greatest in the world but the film does hae enough charm to keep it going. In the final film, Uncle Josh at the Moving Picture Show, our good guy walks in to see a movie but then thinks what he's seeing on the screen is real. This last film in the series is certainly the weakest but it still contains a little charm but it needed more of the laughs to work. We've all heard stories of people walking into a movie for the first time and freaking out by what they saw and I was hoping this film would capture that but it didn't. In the end, this trilogy of films runs just under six minutes and is worth viewing for anyone interested in the early days of cinema.

Uncle Josh returns in this sequel to UNCLE JOSH'S NIGHTMARE. This time he checks into a hotel, presumably to get a better nights rest than he got at home. Of course the way bad luck follows Josh around we know this is a forlorn hope. Sure enough, quicker than you can say "Georges Melies" a ghost pops up to make sure Uncle Josh is denied yet another good nights rest. A comedy (again) and every bit as funny as its predecessor. Uncle Josh would prove to be a durable character, turning up again in the short UNCLE JOSH AT THE MOVING PICTURE SHOW (qv) and again in a sound recording UNCLE JOSH BUYS A CAR (1920). This makes Edison's "Uncle Josh" character the first moving picture personality to be franchised. Indeed Edison was a trend setter in many ways.