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THE COMPUTER WORE TENNIS SHOES (Dir: Robert Butler, 1969).
Kurt Russell stars in the first of Walt Disney Productions' Dexter Riley trilogy.
Ordinary Medfield College student Dexter Riley (Russell) acquires extraordinary knowledge after an electric shock from the science lab computer. Now able to learn facts and figures at lightning speeds, he finds himself mingling with the world's top intellectuals and winning TV game shows. However, he also finds himself dealing with bent bookie A J Arno; details of his illegal gambling ring having also been stored on the machine.
A decade after their first foray into live action fantasy comedy with The Shaggy Dog (Charles Barton, 1959) one might expect the formula to be wearing a little thin. But actually The Computer Wore Tennis Shoes finds it in pretty robust form. It's all innocent, inoffensive fun, with the attractive youths, inept crooks and car chases that fans of 60s/70s era Disney comedies had come to expect.
Much of the movies appeal comes from the game playing of its appealing cast. 18 year old Kurt Russell was always one of Disney's most likeable leading men and here proves himself adept at light comedy. He is supported by an accomplished cast, notably Joe Flynn as the long-suffering Dean Higgins and TV Batman's The Joker Cesar Romero as shady businessman A J Arno. Disney regular Richard Bakalyan played one of his many small-time hood characters; a role in which he seemed eternally typecast.
The Computer Wore Tennis Shoes was a significant hit for Disney and spawned a valuable franchise. Two sequels followed Now You See Him, Now You Don't (Robert Butler, 1972) and The Strongest Man in the World (Vincent McEveety, 1975), while a remake would appear on US TV in 1995.
Nobody would argue that The Computer Wore Tennis Shoes is a masterpiece. Yet, at the same time it would be churlish to be over critical of it. It is lightweight fun that sets out to entertain and in this it succeeds. Perhaps best enjoyed for nostalgia value today; a whimsical period piece but with enough easygoing charm to coast through its 90 odd minutes.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Computer Wore Tennis Shoes. Link below.
THE SIGN OF ZORRO (Dir: Norman Foster & Lewis R Foster, 1958)
Guy Williams stars as the vigilante hero who "makes the sign of a Z" in Walt Disney's feature film version of the hit Zorro TV series, broadcast on the ABC network from 1957-59.
Following a lengthy absence, Don Diego (Guy Williams) returns home to the Spanish Californian pueblo of Los Angeles. Finding his hometown under the rule of cruel Captain Monastario (Britt Lomand), he dons a black cape, assumes the new identity of Zorro and determines to overthrow Monastario and restore order to the pueblo. Cue lots of sword fights!
As with Disney's earlier feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), The Sign of Zorro was edited together from episodes of a TV series. Screened in black and white but filmed in colour, Davy Crockett was a high quality production that transferred to the cinema with ease. Zorro was a more modestly budgeted production shot in black and white. Its static camera work and proliferation of close-ups did not hold up as well on the big screen. The cobbling together of various episodes results in a somewhat disjointed narrative with multiple climaxes and plot threads which are never properly resolved.
That said, the movie does have it compensations. Guy Williams makes for an appealing, athletic hero and is well supported by Gene Sheldon as mute man servant Bernardo and Henry Calvin as local law enforcer Sergeant Garcia; their deft comic performances nicely complementing the lighthearted heroics.
While the movie did not manage to repeat the success of the superior Davy Crockett, it did well enough to warrant a sequel. However, Zorro the Avenger (Charles Barton, 1959) was marketed solely to international audiences and was not released in the US.
Despite its shortcomings, this is an entertaining movie, thanks to its appealing cast and general good-natured ambience. If, like me, you enjoy a bit of swashbuckling you will find The Sign of Zorro has an easy going charm that is hard to resist. Slightly shabby but a lot of fun!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Sign of Zorro. Link below.
THE SHAGGY D.A. (Dir: Robert Stevenson, 1976).
This kooky canine comedy from Walt Disney Productions was the belated sequel to hit The Shaggy Dog (Charles Barton, 1959).
Following on from the events of the original movie, now adult Wilby Daniels is now a successful lawyer, his dog morphing days behind him. However, the ancient cursed ring which turned him into a Bratislavian Sheepdog has been stolen from a local museum by some crooks in the pay of unscrupulous politician 'Honest' John Slade. With incredibly unfortunate timing, this occurs just as Daniels is about to run against Slade in a local election for the position of District Attorney. Daniels must run his campaign and try to get the ring back from Slade, whilst proving him corrupt. All the time running the risk of inadvertently turning into a sheepdog!
Replacing Tommy Kirk in role of Wilby Daniels from the original movie is Disney regular Dean Jones. Jones is appealing as ever, displaying his considerable talent for quirky comedy. Reunited with Jones in their 3rd film together is the equally appealing Suzanne Pleshette. With less to do than Jones, she still makes a good impression as the understanding Mrs Daniels.
Don Tait's screenplay, suggested by the Felix Salten novel The Hound of Florence, is his 5th screenplay for the studio and adheres rigidly to the cookie cutter approach adopted by Disney in this era. True to form, we have some broad slapstick humour, the inevitable car chase and the expected police car pile up. All achieved by some unconvincing back projection. Director Robert Stevenson had a 20 year association with the studio and this was to be his last feature before retiring. Responsible for classics such as Old Yeller (1957) and Mary Poppins (1964), The Shaggy D.A. must be regarded as one of his lesser works.
Still, I enjoyed this film as a child and get a nostalgic kick out of it as an adult. It doesn't quite live up to the weird and wonderful original but is certainly worth a watch if you like this sort of thing. Not quite Best in Show then, but a likeable mutt of a movie nonetheless.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Shaggy D.A. Link below.
MOSBY'S MARAUDERS aka WILLIE AND THE YANK (Dir: Michael O'Herlihy, 1967).
Originally produced for US television, Mosby's Marauders in a fictional historical drama set during the American Civil War.
Young Confederate Willie Prentiss (Kurt Russell) is protected by Union Corporal Henry Jenkins (James MacArthur) after accidentally shooting his commanding officer Lieutenant Mosby (Jack Ging). They strike up an unlikely friendship despite fighting on opposing sides. Jenkins soon develops a romantic interest in Willie's cousin Oralee (Peggy Lipton), further complicating their already compromised friendship and arousing the suspicions of Jenkins superior Sgt Gregg (Nick Adams).
Mosby's Marauders was originally screened in three parts on Walt Disney's Wonderful World of Color in January 1967, under its US title Willie and the Yank. Retitled, it was shown in UK cinemas on the second half of a double feature with Monkeys Go Home (Andrew V. McLagan, 1967).
Its appealing cast is headed by 15 year old Kurt Russell, previously seen in Disney's Follow Me, Boys! (Norman Tokar, 1966). Although Disney would later cast him exclusively in light comedy, he acquits himself well here in a dramatic performance. James MacArthur was a Disney regular from a decade earlier. His co-starring role as 'the Yank' was his first for the studio since Swiss Family Robinson (Ken Annakin, 1960). Always underrated as an actor, MacArthur would find greater fame a year later in the role of Danny in TVs Hawaii Five-O (1968-80).
Mosby's Marauders is an unusual Civil War picture, in that it is told from the perspective of the South. Yet this is no Confederate flag waver and is told in a fairly matter of fact manner, sympathetic with the plight of those fighting for both North and South.
Modern audiences, especially children, may be put off by the movie's subject matter and the fairly dry manner in which it is presented. Still, Mosby’s Marauders is a handsome outdoor adventure with none the budgetary restraints one might expect from a TV movie. Not for everyone, perhaps, but a quality product which is well worth a watch.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Mosby’s Marauders. Link below.
THE LION KING (Dir: Roger Allers & Rob Minkoff).
The 1990s Disney Animation renaissance continued with The Lion King, their biggest hit (when adjusted for inflation) to date.
The movie tells the story of young lion and future king Simba (voiced by Jonathan Taylor Thomas as a juvenile and Matthew Broderick as an adult). Simba’s father Mufasa (James Earl Jones) is killed by his brother and Simba’s uncle Scar (Jeremy Irons). Scar leads Simba to be believe he is responsible for Mufasa’s death and goes into hiding. Believing Simba has been killed by Hyenas, Scar takes his place as king of the Pride Lands. However, Simba is rescued by comic relief duo meerkat Timon (Nathan Lane) and warthog Pumbaa (Ernie Sabella). When adult Simba learns of his uncle’s despotic machinations he returns to fight Scar, reclaim his crown and restore order to the Pride Lands.
Majestic seems a fitting word for The Lion King. Recalling earlier classic The Jungle Book (Wolfgang Reitherman, 1967) with its animal cast, particularly in the characterisation of Scar, a upper-crust Disney villain in the Sheer Khan mode. The movie feels both fresh, in its break from the fairytale genre, yet classic Disney with its anthropomorphised animal antics.
It is easily one of the Studio’s most visually appealing features of the 1990s. It’s beautiful backgrounds of African landscapes is the match of the superior character animation. This is highlighted particularly in the opening scene as the African animal populous gathers to welcome the newly born Simba to the Pride Lands. So impressed were the Disney execs by this scene, that it was used wholesale as the movie’s trailer. Happily the rest of the film has no problem in living up to this breathtaking beginning.
With outstanding animation, excellent voice work and a handful of hit songs by Tim Rice and Elton John, The Lion King reigns as one of Disney’s greatest post-Walt animated feature films.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Lion King. Link in bio.
POOH’S HEFFALUMP HALLOWEEN MOVIE (Dir: Saul Andrew Blinkoff & Elliot M. Bour, 2005).
A sequel of sorts to Pooh's Heffalump Movie (Frank Nissen, 2005), the feature which introduced the character of Lumpy the Heffalump to the Pooh universe. As with the previous movie, this one was also animated by DisneyToon Studios, the television production arm of Walt Disney Pictures. Unlike Pooh's Heffalump Movie, which enjoyed a theatrical release, Heffalump Halloween was a made for video effort. The movie is comprised of roughly two thirds new material, the remainder being recycled from the television special Boo to You Too! Winnie the Pooh (Rob LaDuca, 1996).
Once again, Pooh is relegated to co-star status in a film which largely revolves around Roo teaching his best friend Lumpy about the Hundred Acre Wood's 'trick or treat' traditions on the young heffalump's first Halloween. During the course of which Roo attempts to 'unscare' Lumpy by telling him of the Halloween which was almost a Hallo-wasn't due to Piglet's fears of the spooky season. Taken from the earlier special, this noticeably different footage presents us with the awkward narrative conceit of Roo narrating a story in which neither he or Kanga appear, as both were inexplicably absent from the episode.
Narrative issues aside, the film is passable entertainment for the very young; the toothless, yet sweet, confection contains no real frights for even the smallest of viewers. Children will undoubtedly find Lumpy adorable and may even enjoy the handful of forgettable songs. The expected messages about braveness and friendship are hammered home without a hint of subtlety.
There are certainly worse kid's movies out there than Pooh's Heffalump Halloween Movie, but there are much better Pooh movies. The youngest and most undemanding Pooh fans will probably be enchanted by this spooky special. Older children and grownups would be much better served by watching Walt Disney's The Many Adventures of Winnie the Pooh (John Lounsbery & Wolfgang Reitherman, 1977), or by reading the original A. A. Milne stories upon which it based.
STAR WARS: THE RISE OF SKYWALKER (Dir: J.J. Abrams, 2019).
I am writing this review assuming that anyone reading it will already know a little about the Star Wars universe. This latest movie The Rise of Skywalker is the final instalment of the nine movie strong (not including spin-offs) saga.
In this, Episode IX, the Resistance are, once again, up against the First Order. Rey, meanwhile has some serious soul searching to do and some pretty important decisions to make.
A bit more of a romp than the preceding two instalments, co-writer/director J.J. Abrams has fashioned a rollercoaster adventure that barely stops for breath. Its more poignant and emotional moments, of which there are many, are offset by the humour that was sadly missing in the prequels and by a general good natured atmosphere.
Special effects are, as you would expect, spectacular. There are enough twists and turns in the plot to keep you on the edge of your seat, while longtime fans will appreciate the nods to previous movies including some welcome cameos of characters past.
Key to the movies enjoyment is the game playing of its likeable cast, most notably Oscar Isaacs’ Poe Dameron; his cheeky-chappie-Han-Solo-ish persona comes to the fore more here than in previous movies and for me, Isaacs is the real standout of the newer gang members. Perhaps as a consequence, Finn seems a little underwritten. While John Boyega has impressed in previous entries, here, through no fault of his own, is left with seemingly little to do. As Rey, Daisy Ridley spends much of the movie in a sort of heroic turmoil, but this she does excellently! While, over the course of three movies Adam Driver has pretty much perfected his mean and moody bit as bad’un Kylo Ren.
So we conclude the Star Wars nineology (or whatever) with a movie which, while perhaps not among the best of the series is still a mostly satisfying end to the franchise. Those fans who come to Star Wars first and foremost to be entertained should not be disappointed.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Star Wars: The Rise of Skywalker! Link below.
THE PARENT TRAP (Dir: David Swift, 1961).
Hayley Mills' second movie for Walt Disney is also arguably her best for the studio. Indeed, nearly 60 years after release it remains one of the studio’s most popular and well regarded live action features.
Based upon Erich Kästner’s German language novel 'Das Doppelte Lottchen' (Lisa and Lottie) The Parent Trap tells the story of identical twin sisters Susan and Sharon (both played by Mills) who are separated at birth by their divorced parents. Thirteen years later they meet at summer camp and decided to switch places on their folks, knowing that they would have to meet up again in order to switch them back and hopefully reconcile their romance. So Susan heads to Boston to meet mom (Maureen O'Hara), while Sharon jets off to stay with dad (Brian Keith) at his sprawling California ranch. With unfortunate timing dad is just about to wed gold digging platinum blonde Vicky (Joanna Barnes), with whom he is besotted, forcing the twins to plot ever more elaborate schemes to 'submarine' Vicky and save their parents marriage.
While its plot is far fetched to say the least, the movie is executed with such skill and warmth that disbelief happily takes a vacation.
Maureen O’Hara was never lovelier than she is here and Brian Keith was never more lovably oafish. Of course the real star is Mills in her duel role as the twins. Her deft performance displays genuine charisma and expert comedy timing in what is only her third screen appearance.
Save for the odd bit of obvious back project, the pre-digital effects are excellent; the movie would be far less effective if they were not. The trick photography that allows two Hayleys to appear on screen together is astonishing and completely believable.
Perhaps The Parent Trap’s greatest achievement is that it works as a sophisticated romcom for adult audiences just as well as it does a slapstick comedy for kids. If you have never seen The Parent Trap or haven’t seen in a while, I highly recommend giving it a watch. It is a comedy gem whose warmth and charm is hard to resist!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Parent Trap! Link below.
FREAKY FRIDAY (Dir: Steve Carr, 2018)
Disney have certainly gotten their money’s worth out of Freaky Friday. This Disney Channel Original Movie is the studio’s fourth adaptation of Mary Rodgers’ novel and is itself based upon Disney Theatrical Productions 2016 stage musical, with music and lyrics by Tom Kitt and Brian Yorkey and book by Bridget Carpenter.
The now familiar tale of the mother and daughter at loggerheads who switch bodies for a day is tweaked and refreshed for a new generation of tweens. Here Cozi Zuehlsdorff is a teenager still grieving the death of her father five years earlier and Heidi Blickenstaff her stressed mother on the eve of remarrying. This time a magical hourglass is the catalyst for the swap. A scavenger hunt is shoehorned in, recalling another earlier Disney Production, the cult favourite Midnight Madness (David Wechter & Michael Nankin, 1980).
I have been a fan of the original Freaky Friday (Gary Nelson, 1976) and the 1972 Mary Rodgers novel upon which it is based almost all of my life. This most recent version deviates significantly from both movie and source. While the original is undoubtedly the best, this new Freaky Friday is a lot of fun. Kitt and Yorkey’s High School Musical-style soft rock is easy on the ear, although the vocals suffer from the same apparent ‘tweaking’ effect which Disney Channel musicals always seem to do. Steve Carr's direction doesn’t belie the movies TV roots, while Blickenstaff and Zuehlsdorff step into the legendary shoes of Barbara Harris and Jodie Foster with an appealing enthusiasm which is hard to resist. Come the inevitable climactic big song and dance number this tween movie had worked its warm-hearted magic of this middle age movie critic.
I must confess to having a soft spot for Disney Channel movies. No one would argue that they are cinematic masterpieces, but most offer 90 minutes of lightweight fun. If you are a fan you will know what to expect, if you’re not this won’t be the movie to change your mind. Freaky Friday won’t change the world but it should bring a smile to the faces of those looking for goodnatured, undemanding entertainment.
100+ movie reviews, including the original classic FREAKY FRIDAY, now available on my blog JINGLE BONES MOVIE TIME! Link below.
‘TWAS THE NIGHT (Dir: Nick Castle, 2001).
The following review and 100+ more reviews are available on my blog JINGLE BONES MOVIE TIME! Link below.
Made for TV Christmas movies have become inexplicably popular in the last two decades. Seemingly hundreds of them litter the television schedules from September to January every year. This entry in the genre, a Disney Channel Original Movie, has become something of a festival staple on the Disney Channel and can usually be found in their December lineup.
On Christmas Eve, heavily in debt conman Nick Wrigley (Bryan Cranston) escapes his gangland creditors by hiding out in the home of his brother. After mistaking Santa for an intruder he knocks the fat man out cold, ties him up and steals his high-tech sleigh. Taking advantage of his close relationship with nephew Danny (Josh Zuckerman), the pair go on a burglary spree. Unbeknownst to Danny who believes the pair are helping the concussed Santa by delivering Christmas gifts.
There is a certain amount of cynicism mixed in with the inevitable sentiment in ‘Twas the Night, lending the movie a somewhat uneven tone. Its self-centered wise guy characters are a little hard to warm to. Their redemption, when it comes (as is always certain), is neither empathetic or particularly heartwarming, suggesting that the ending is there merely to placate viewers expectations of family Christmas movies.
The visual effects are above the usual TV movie standard, although it never quite overcomes the feel of an extended Disney Channel sitcom. The screenplay by Jim Lincoln, Dan Studley and Jenny Trip has its funny moments, but little in the movie really rings true. It has all the glitz one would expect of a Christmas movie but is oddly lacking in heart.
Bryan Cranston is the standout among the cast. His amiable performance here is the best reason to watch this passably entertaining but unexceptional movie.
While ‘Twas the Night is not exactly unmissable festive fare, it should appeal to tweens and younger teens who feel they are above sentimental Christmas movies. Younger children, meanwhile, may be a little upset seeing Santa hit over the head with a shovel! Not a Christmas classic but you may find its worth a watch if you come across it while flicking through cable.
ZOMBIES (Dir: Paul Hoen, 2018)
Girl meets zombie in this musical romcom for the tween set.
Afraid of the undead? Fret thee not! As a Disney Channel Original Movie, the zombies in Zombies are only likely to induce fear in those terrified by the prospect of perky teens singing and dancing.
Read the full review on my blog JINGLE BONES MOVIE TIME at the link below.
ZOMBIES 2 (Dir: Paul Hoen, 2020).
The Zombies of Seabrook High return in the imaginatively titled Zombies 2. Now with extra added werewolves.
When werewolves pose a threat to the newly integrated communities of Seabrook and Zombie Town, monster lockdown is back on. Much to the chagrin of Zombie Zed (Milo Manheim) and his human gal pal Addison (Meg Donnelly). In an attempt to force change Zed runs for school president. Meanwhile Addison is courted by a band of werewolves banished from Seabrook since olden times!
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
The Boy Who Talked to Badgers (Dir: Gary Nelson, 1975).
A family drama first aired in two parts on NBC’s The Wonderful World of Disney television series. Difficult to obtain for many years it is now available to watch on the Disney+ streaming service.
Based on Allan W. Eckert’s 1971 novel Incident at Hawk's Hill, The Boy Who Talked to Badgers tells the story of young farm boy Benjy MacDonald (Christian Juttner). Preferring the company of animals to humans Ben largely disconnects with others, notably his stern father Will (Carl Betz). When out playing in a nearby creek, Ben falls in and is carried downstream. Believing him drowned, his guilt-ridden father organises an extensive search of the surrounding area. Ben, meanwhile is aided by a badger who befriends him and keeps him supplied in raw fish while the boy's injured ankle heals.
Read the full review on my blog JINGLE BONES MOVIE TIME! Link below.
THE MILLION DOLLAR DUCK (Dir: Vincent McEveety, 1971).
A domestic comedy from Walt Disney Productions. Referred to in publicity as $1,000,000 Duck, the tale is a spin on the Aesop’s Fable of The Goose that Laid the Golden Eggs.
After radiation exposure, dumb duck Charley begins to lay solid gold eggs. Much to the delight of cash strapped research scientist Albert Dooley (Dean Jones) and his dippy missus Katie (Sandy Duncan). Friendly neighbourhood lawyer Fred (Tony Roberts) is in on the act of keeping their discovery from nosy nextdoor US Treasury Department employee Hooper (Joe Flynn). As gold fever engulfs the household, the generation gap between Albert and his son Jimmy (Lee Montgomery) grows. The kid only wanted a pet duck. At the risk of losing his poultry pal to the government, the pair fly the coop, hitching a ride on a hot-rod and creating crosstown chaos as mom and pop, the money men and the cops join pursuit of boy and bird.
Visit my blog JINGLE BONES MOVIE TIME to read the full review! Link below.
HERBIE RIDES AGAIN (Dir: Robert Stevenson, 1974).
Released 5 years after Walt Disney Productions' blockbuster The Love Bug (Robert Stevenson, 1969), this first sequel of the Herbie franchise reunited most of the creative team of the original movie. Disney Studios’ star director Robert Stevenson is once again at the helm, with production and screenwriting duties handled by Bill Walsh, from a story by Gordon Buford.
Following the events of The Love Bug, anthropomorphic VW Bug Herbie is now in the care of elderly Mrs Steinmetz (Helen Hayes). Her nephew, mechanic Tennessee Steinmetz, has left the car in his aunt's care while he visits Tibet. Former owner race driver Jim Douglas, meanwhile, is now competing on the European circuit. Sharing Steinmetz's ancient firehouse home is airline flight attendant Nicole (Stephanie Powers) and together with fledgling lawyer Willoughby Whitfield (Ken Berry) they must fight to stop the firehouse from falling into the hands of evil property tycoon Alonzo Hawk (Keenan Wynn). Hawk will stop at nothing, legal or otherwise, to procure the land for his planned skyscraper Hawk Plaza, but meets his match when he comes up against Herbie.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
