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.

RIP Richard Williams.

THE LITTLE MERMAID II: RETURN TO THE SEA (Dir: Jim Kammerud, 2000).

Released 11 years after the original, The Little Mermaid II: Return to the Sea is the first of two sequels to Walt Disney Pictures The Little Mermaid (Ron Clements & John Musker, 1989).

Flipping the events of the first movie, The Little Mermaid II is the story of Melody, the tweenage human daughter of Ariel and Prince Eric. Knowing nothing of her mother’s past and longing to explore the forbidden ocean, Melody strikes a deal with Morgana, the equally villainous sister of sea witch Ursula. With the safety of Melody and the merfolk kingdom of Atlantica at risk, Ariel must ‘return to the Sea’ in a bid to save them.

What drives me to watch a movie like The Little Mermaid II? Let’s say morbid curiosity. Plus the fact that Disney is no longer churning out these straight-to-video cash-ins means I am not supporting their production.

Is it any good? Well, considering its made for the home market origins, this is not a bad looking movie. Produced by Walt Disney Television Animation (latterly DisneyToon Studios), it’s not up to the high standards of a Walt Disney Animation Studios production but it is a step up from usual television fare. Also in its favour is the return of much of the original vocal cast including Jodi Benson as Ariel and Pat Carroll as Morgana.

The returning cast members and the above average visuals suggest that Disney was wary of damaging a popular franchise. However, whatever qualities the movie has are scuppered by some doggedly pedestrian storytelling.

To be fair, I found The Little Mermaid II to be passable entertainment and better than many Disney sequels. Very young viewers, especially those with a penchant for mermaids, should enjoy it. Older children and adults, meanwhile, would do better to stick with the superior original.

Visit my blog JINGLE BONES MOVIE TIME for more reviews of Disney classics and their sequels! Link below.

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.

THE LITTLE MERMAID (Dir: Ron Clements & John Musker, 1989).

Based upon Hans Christian Andersen’s classic tale, The Little Mermaid was Walt Disney Animation’s first fairytale adaptation in three decades. It was their biggest critical and commercial success in years and is credited with starting a renaissance in Disney feature animation.

As I am sure you know, The Little Mermaid is the story of Ariel, the teenage mermaid who trades her voice for a man. Not the most feminist of plots but I don’t think it raised eyebrows back in 1989. Be thankful we are more enlightened now and don’t let it spoil your entertainment. Because The Little Mermaid is very entertaining.

The most cinematic Disney animation to date, thanks to inventive use of ‘camera’ angles; directors Ron Clements and John Musker and the talented Disney artists created a movie which felt simultaneously contemporary and classic Disney. Clichéd as it may sound, there is a sense of magic in The Little Mermaid that had been absent from Disney movies for some time.

As the voice of Ariel, Jodi Benson has the right amount of naive wonder and youthful determination while Pat Carroll’s lends her husky tones to Ursula, one of Disney’s most hissable villains. Comic relief comes in the form of Samuel E Wright as Ariel’s crustacean custodian Sebastian who brings a Caribbean vibe to musical numbers Under the Sea and Kiss the Girl.

Howard Ashman and Alen Menken’s excellent musical score is, arguably, what elevates The Little Mermaid from a good movie to a great one and in the modern Disney era has only ever been matched for greatness by Ashman and Menken’s Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991).

It is unfortunate that in subsequent years the Disney Company chose to market The Little Mermaid, and the ‘princess’ movies in general, almost exclusively to little girls. The appeal of great filmmaking should extend beyond age or gender and The Little Mermaid undoubtedly does; its status as a classic is entirely justified.

Visit my blog JINGLE BONES MOVIE TIME to read a longer more in-depth version of this review and reviews of other Disney classics! Link below.

CANDLESHOE (Dir: Norman Tokar, 1977).


Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.


Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.


A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.

A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.


Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.


With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.

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