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Let's be realistic.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

This is a dark and sometimes deeply uncomfortable drama

"One Week" is a 1920 film by Buster Keaton, so not too long anymore until it has its 100th anniversary. This film shows us that building a house was quite a challenge already in the days of silent black-and-white films, especially if you get constantly sabotaged by somebody. Buster and his wife, played by Sybil Seely, are newly-weds and trying to build a house here. Virginia Fox is not in this film, which is unusual for Keaton movies, but he has worked with Seely also on other occasions. Antagonist regular Joe Roberts, however, is in this one too and Edward F. Cline, Keaton's longtime partner behind the camera, also helped out on this one. This is possibly Keaton's most famous short film, maybe also because it is one of very few that managed to make it into the National Film Registry. Still I was not too impressed. I wish they could have kept this at 15 minutes max and only included scenes with the duo, the antagonist and the house and not the partying in-between etc. Not recommended.

ONE WEEKBuster Keaton and his new bride labor to build a house from a kit. There's not much of a narrative arc to speak of, but the premise allows for some pretty funny physical gags. And inventive ones, too... such as when the entire cockeyed structure is rotating around on a giant lazy susan. Keaton is endearing and charming as ever, and although we don't get to see Sybil Seely do that much, she certainly is a cutie-pie. The ending makes a terrific capper to this fun little short with plenty of laughs.Rating: 8/10

Although usually credited as Buster Keaton's first film as an independent artist, following his successful partnership with Roscoe Arbuckle who by this time had moved into features, ONE WEEK was in fact the second to be shot. Keaton did not consider his first two-reeler THE HIGH SIGN to be quite sure-fire enough to let it serve as his first release. This may reveal more than a tiny bit of Keaton's discipline as a comedian, as THE HIGH SIGN by any standards is a very funny film. However, Keaton may have been wise in his decision after all, as ONE WEEK provides such an extraordinary sparkle of energy, one clearly sees through that the people behind this film had great fun doing it, which made it impossible to ignore even in the stream of comedy films that came to life through the first year of the Twenties.The premise is simple enough, but one with inevitable possibilities for comedy; and it gets even funnier if you know its initial source. With ONE WEEK, Keaton is reported to have done a parody on a commercial he had seen (in a movie theater, of course), where it was demonstrated how a cozy house easily could be built in just one week, if one follows the instructions of a "build-it-yourself"-set. So much for that: newlyweds Buster and Sybil Seely (beautiful leading lady who would only appear in two more of Keaton's shorts) received said set as a wedding gift, but things turn out differently than predicted when "the one she turned down," Buster's rival, changes the packing crates. Day by day we follow the couple's struggles throughout the week, who refuse to declare their house inappropriate for living even when it clearly is a mess; that is, until the brutal ending which takes place on peaceful Sunday, which I won't reveal here.With ONE WEEK, Buster Keaton made it to the top-ranks among comedians in two-reelers almost overnight, and predestined an extraordinary career in the years to come. The characters may barely be explored, and end up appearing quite one-dimensional in the midst of all mechanical objects and "trick-property," but for pure fun and laughter, the film must rank among the best of all silent comedies. As a final mention, note that this film marks the first appearance of Joe Roberts, whom Buster had known since his years in vaudeville; though given only a minor role here, he would soon function as a Goliath-like creature to Keaton in his films, much like Eric Campbell did to Chaplin in the Mutual-period of the latter.

'One Week (1920)' was the first of Buster Keaton's independent two-reelers, though 'The High Sign (1921)' was filmed first and shelved until the following year. The story starts out where most romantic comedies end: with a picturesque wedding ceremony, during which adoring friends and relatives toss confetti and, oddly, second-hand footwear. The lucky groom (Keaton) and his bride (Sybil Seely) strike out for their new home, purchased by a well-meaning uncle. Of course, only in a Keaton short must the husband and wife be forced to construct their own house, utilising a do-it-yourself kit that goes awry when the bride's former lover switches the numbers around. The resultant dwelling would not have looked out of place in 'The Cabinet of Dr. Caligari (1920),' though Keaton is evidently proud of his handiwork, and is thus prepared to overlook the most minor of blunders (such as having the front door on the second-floor). This short served as a trial-run of sorts for the feature 'Steamboat Bill, Jr. (1928),' for here we see an early version of Keaton's famous "saved-by-the-window" falling wall stunt.'One Week' is one of Keaton's finest shorts, with no shortage of imagination, and a continuous string of episodic gags. In one scene, our hero rather coarsely knocks out a traffic policeman, and it's probably no coincidence that the victim is a Charles Chaplin-lookalike. Many of the Keaton's films utilise aspects of engineering, such as 'The Electric House (1922),' in which the actor is commissioned to update a client's home with state-of-the-art technology. In 'One Week,' the product of Keaton's labours doesn't appear quite so impressive, though the house does misbehave is equally hilarious ways. In a vigorous windstorm, the entire building is transformed into a deliriously-spinning carousel, the inhabitants thrown across the room with almost brutal centrifugal force. Leading lady Sybil Seely impressively keeps up with Keaton's comedic antics, even contributing a few laughs of her own, rather than serving only as a beautiful romantic interest. Not that Seely didn't have the "beautiful" aspect covered, the film's show-stopping moment seeing the actress drop her bar of soap while bathing in the tub. A modest cameraman's hand spares us the details, however.