LADY AND THE TRAMP II: SCAMPS ADVENTURE (Dir: Darrell Rooney, 2001).

LADY AND THE TRAMP II: SCAMP’S ADVENTURE (Dir: Darrell Rooney, 2001).

46 years after Walt Disney’s original Lady and the Tramp (Clyde Geronimi, Wilfred Jackson & Hamilton Luske, 1955) comes this belated straight-to-video sequel.

Lady and Tramp’s only son Scamp rebels at life on a leash, runs away from home and hooks up with a gang of tough junkyard dogs. Clashing with gang leader Buster and falling for fetching young pup Angel, Scamp eventually must choose between his family or freedom.

Produced by Walt Disney Television Animation (lately DisneyToon Studios) on a much smaller budget than a Walt Disney Animation Studios feature, resulting in a markedly less polished production than that of its sister studio. The character animation is flat and cartoony, replacing the original movie’s studied realism. The backgrounds, likewise, lack the depth and detail of the first movie, while a homage to Lady and the Tramp’s famous spaghetti sequence and a train dodge scenario lifted from The Aristocats (Wolfgang Reitherman, 1970) are a reminder of how superior those movies are.

Among the cast you may recognise the familiar voices of Disney’s own little mermaid Ariel Jodi Benson as Lady and Hollywood legend Mickey Rooney as Scamp’s pal Sparky. While certainly perfunctory, none of the voice actors make much of an impression. Some serviceable but forgettable songs punctuate the soundtrack, none coming close to Peggy Lee and Sonny Burke’s majestic originals. Here lies the problem with Lady and the Tramp II; it is simply weaker than the first movie in all departments.

In truth, there are worse movies than Lady and the Tramp II. There are probably even worse Disney straight-to-videos sequels. But I honestly do not understand why you would watch this film instead of the masterful original. Lady and the Tramp endures as one of Walt Disney’s greatest animated features. Sadly, this cannot be said about its sequel; a pale imitation of the original and a soulless, artless exercise in exploitation.

A review of the original Lady and the Tramp and a longer, more in-depth review of Lady and the Tramp II can be found on my blog JINGLE BONES MOVIE TIME! Link below.

A BILLION FOR BORIS (Dir: Alex Grasshoff, 1984).

A Billion for Boris is the film adaptation of Mary Rodgers' sequel to her novel Freaky Friday.

Repairing an old TV set, Ben ‘Apeface’ Andrews (Seth Green) fixes it to show the next day’s programmes. He duly shares this information with his sister Annabel (Mary Tanner) and friend Boris (Scott Tiler). Seeing the money making potential, Boris heads off to bookies, but his winning streak attracts the unwanted attention of gangsters.

A movie version of Freaky Friday (Gary Nelson) was released by Walt Disney Productions in 1976. Although popular, Disney chose not to film either of Rodgers’ published sequels. A Billion for Boris was brought to the screen almost a decade later courtesy of independent Comworld Pictures.

As such, it is an adaptation of the sequel to the novel, rather than a sequel to the Disney feature. The setting, as in Rodgers’ books, is a New York apartment block, not the suburban Los Angeles of Disney’s Freaky Friday. The events of the earlier movie are not referenced, with the exception of the firing of the Andrews’ housekeeper for stealing liquor.

As a low budget production, A Billion for Boris lacks the polish of Freaky Friday. Also missing is Rodgers’ prose; as screenwriter of the original movie she captured much of the spirit of her book, even though significant changes were made to the plot.

Its largely unrecognisable cast doesn’t have the appeal of the previous movie. Of the adults, Lee Grant does a neat turn as Boris’ quirky mom. Future star Seth Green is standout among the kids as ‘Ape Face’.

In spite of this, it is still an entertaining movie. Some might question the theme of underage gambling and while it would raise a few eyebrows today, I doubt it did in 1984. Use it as opportunity to discuss with your kids the morality of betting if you will, but I wouldn’t let it put you off.

While A Billion for Boris doesn’t raise big laughs it does provides some chuckles. I am fairly certain I won’t revisit it as often as Freaky Friday, a childhood favourite that holds up as an adult. However, it does hold curiosity value to fans of that movie and is undemanding, lightweight fun.

Check out my blog JINGLE BONES MOVIE TIME for more movie reviews!

STUDENT EXCHANGE (Dir: Mollie Miller, 1987).


A lightweight teen comedy from Walt Disney Television. Originally screened in two parts on ABC's The Disney Sunday Movie series.


Greeley High School students Carole and Neil are top of the class academically but bottom of the heap socially. Passing themselves of as foreign exchange students in a bid to be noticed, they are a hit with fellow pupils, less so with the school principal. Predictably, things get a little out of hand and the pair are soon wishing they were their old selves again.


Inexplicably, identity switch movies were something of a Disney Sunday Movie staple in the 1980s. The previous season had presented Young Again (Steven Hilliard Stern, 1986), Double Switch (David Greenwalt, 1987) and Double Agent (Michael Vejar, 1987) while the current series also offered Rock 'n' Roll Mom (Michael Schultz, 1988) and 14 Going on 30 (Paul Schneider, 1988). Meanwhile The Disney Channel was churning out a seemingly endless series of sequels to Disney's original switheroo comedy The Parent Trap (David Swift, 1961).


There is little in Student Exchange that is particularly original and nothing that really makes it stand out among the plethora of teenage wish fulfillment movies. Mollie Miller's direction is solid and the performances are fine, although the production cannot quite shake the feeling of an extended TV episode.


It also suffers from a message that is slightly muddled. While it is undoubtedly important to be yourself, Student Exchange makes it seem a lot more fun to be the popular kid and get the girl/boy of your dreams.


Viveka Davis and Todd Field are likeable leads, but perhaps of more interest to modern audiences is the supporting cast. A post-Bionic Woman Lindsay Wagner, pre-fame Heather Graham and pre-infamy O J Simpson all put in appearances.

Student Exchange is a pleasant enough nostalgia trip. Teens and tweens of the late 80s may get more out of it than anybody else. But i don't see why younger audiences wouldn't enjoy it too; essentially it is a modern day Disney Channel movie in 1980s clothing. It is predictable and formulaic but also good-natured fun.

Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Student Exchange!

Movie number 83: FROM RUSSIA WITH LOVE (Dir: Terence Young, 1963).

Sean Connery returns as Ian Fleming’s James Bond 007 in this second movie in the series, From Russia with Love. Produced, once again, by ‘Cubby’ Broccoli and Harry Saltzman’s Eon Productions.

Here some double agent dupery sees Bond smuggling a Soviet Lektor decrypting device from East to West via the Orient Express. Pulling the strings are terrorist organisation SPECTRE, seeking to avenge the death of an agent who Bond bumped off previously.

Dr No director Terence Young returns to deliver another tight, action packed yet well paced thriller. I will admit the misogynistic tone of From Russia with Love leaves a bad taste. The sight of Bond slapping a woman about, even if she is a Russian agent, fills me with unease. That aspect aside, the movie ranks as one of the series’ best.

Many latter staples of the series are introduced here. SPECTRE head honcho Blofeld makes his first appearance, as does gadget man Q, a role Desmond Llewelyn would be associated with until his death in 1999. From Russia with Love also introduced the pre-title sequence and Lionel Bart provided the first Bond theme. Heard as an instrumental against the nudie ladies silhouette titles (another first - although here she is a belly dancer, nudieness would follow in later movies), Matt Monro’s beautiful vocal version is heard first over a transistor radio and later in the end credits.

Connery is fantastic; equal parts flirty and fighty, cool yet sophisticated. A quality supporting cast sees regulars Bernard Lee and Lois Maxwell return as M and Miss Moneypenny respectively; an amiable Pedro Armendáriz as Bond’s Istanbul M16 ally; Robert Shaw makes an impressive baddie and Daniela Bianchi gets to look lovely in a series of nighties as ambiguous Bond girl Tatiana. Best of all is the fabulous Lotte Lenya as SPECTRE agent and possessor of lethal footwear Rosa Klebb.

In my opinion the early Bond movies were never bettered. From Russia with Love, in particular, holds up as one of the series’ best and has stood the test of time as an exciting action adventure in its own right.

If you enjoyed this review check out my previous review of Dr No. A longer, more in-depth version of this review appears on my blog jinglebonesmovietime.blogspot.com

James Bond will return in my review of Goldfinger...

K-12 (Dir: Melanie Martinez, 2019).

The movie debut of singer Melanie Martinez, released to coincide with her album of the same name.

The plot of K-12 follows on from and elaborates on the themes of Martinez’s previous album Cry Baby. However, prior knowledge of Cry Baby is not essential, as the movie is best enjoyed for its music and stunning visuals in what is, essentially, a long form music video. Albeit one with an ambitious cinematic grandeur.

With a distinctive colour palette utilising mostly pink and pastel shades, it has an arresting otherworldly quality, at times recalling the work of Terry Gilliam and the high kitsch of John Waters.

There is a certain brutal beauty to Martinez’s music which she has matched perfectly to the visuals. The dystopian fantasy addresses issues such as bullying and acceptance, but always in tuneful fashion!

As you might expect from Martinez the movie is sweary and creepy and not recommended for those of a sensitive nature. With its language, drug taking and no nips nudity, it is definitely not one to show the kids!

In truth, K-12 is a bit of an acquired taste and is probably limited largely to Melanie Martinez’s fan base. But it is artfully produced. Recommended especially to fans of Martinez but also to open minded movie lovers in the mood for an off kilter fantasy musical.

K-12 is available to steam on Melanie Martinez’s official YouTube channel: https://youtu.be/2HtaIvb61Uk

Check out my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.

FREAKY FRIDAY (Dir: Gary Nelson, 1976).

Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy.

It tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.


While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie, largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.


For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to spirit of her book. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movies core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.

Freaky Friday is a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?

Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com