Walt Disney Productions - Tumblr Posts
Movie number 28: Gus (Vincent McEveety, 1976).
By 1976, 10 years after the death of its founder, Walt Disney Productions were struggling for relevance in a changing film industry which had largely moved away from family entertainment to more adult fare. The fantasy comedies which were the company’s mainstay had been a Disney staple since The Shaggy Dog (Charles Barton) had hit big in 1959. However, nearly two decades later, what had once seemed fresh and inventive had become tired and formulaic. Budgets were kept low so the films made a small profit and Gus, with it stock footage and unconvincing back-projection was, indeed, a minor success. Its plot, as high concept as it is ludicrous, involves a Yugoslavian mule with a talent for 100 yard field goals who is hired by failing US football team The Atoms. The human cast is headed by Edward Asner doing his lovably gruff bit as The Atoms manager and he is supported by familiar 70s faces Don Knotts, Tim Conway and Tom Bosley. Considering the material the cast do a decent job and some genuine laughs are to be had from the visual gags involving The Atoms ageing cheerleaders and Gus the mule running amok in a supermarket! The movie Gus feels something of a cousin to Disney’s earlier The World’s Greatest Athlete (Robert Scheerer, 1973) and if you enjoyed that you will probably like this. To be fair, I lapped up this sort of thing as a child and taken for what it is Gus is entertaining, cheap and cheerful formulaic fun!
BEDKNOBS AND BROOMSTICKS (Dir: Robert Stevenson, 1971).
It was inevitable that, sooner or later, I would post a review of Walt Disney Productions’ Bedknobs and Broomsticks. I have watched this movie more times than any other, losing count when I hit three figures. I wouldn’t say it is the best film I have ever seen but I would say it has given me more pleasure over the years than any other.
Often compared unfavourably and, I feel, unfairly with Disney’s 1964 blockbuster Mary Poppins, it reunited most of the creative team and star David Tomlinson from the earlier film. It also shares with it a lengthy ‘Jolly Holiday’-esq animated sequence and a basic premise about a magical governess. Yet the plot, taken from yet having little in common with Mary Norton’s book, about an amateur witch’s attempts to repel a Nazi invasion in wartime Britain with the help of three cockney waifs is markedly different from Poppins and Tomlinson’s performance as a loveable charlatan magician is completely different from the repressed banker and estranged father he portrayed in Poppins.
To be honest, it isn’t as good a film as Mary Poppins. It has a messy, episodic narrative which zealous editing - there are at least five different official versions of the film - was not entirely successful at tidying up. The international and US re-release version, at roughly 100 minutes, has the most satisfying narrative but cuts virtually all of Richard and Robert Sherman’s excellent songs; those that do remain are butchered, the lavish Portobello Road suffering most noticeably. An attempt in 1996 to restore the film to its original, and sadly lost, premier length brings the runtime to 139 minutes but suffers from poor dubbing on scenes where the audio could not be found. In spite of narrative issues the standard, roughly two hour release print is the default and best version of Bedknobs...
Director Robert Stevenson is almost successful at recreating the ole Poppins magic; Ward Kimball’s inventive animated excursion to the Island of Naboombu is the undoubted highlight of Disney Animation’s 1970s output; the effects work, including some incredible puppetry of bodiless suits of armour in the epic climax, hold up well against modern CGI techniques and the performance from stars Angela Lansbury, David Tomlinson and company are exemplary. The Sherman Brother’s songs, including The Age of Not Believing, Beautiful Briny and the spectacular Portobello Road are among their best, perhaps a shade down from their work on Poppins, but there is no shame in coming second place to arguably the greatest musical score ever written for the cinema!
I reiterate, Bedknobs and Broomsticks is not as great a piece of filmmaking as Mary Poppins, but as a child I enjoyed it more. I certainly watched it more often. While perhaps it doesn’t quite add up to the sum of its parts, I think it is highly entertaining, is rightly regarded a classic and should probably be regarded a masterpiece, albeit a flawed masterpiece.
Visit my blog JINGLE BONES MOVIE TIME for more reviews of Disney classics! Link below.
THE WARE CASE (Robert Stevenson, 1938).
The Ware Case is a creaky crime drama from the early days of the Ealing Studios; the second release from producer and studio head Michael Balcon’s tenure.
It features none of the hallmarks and belongs to none of the genres of filmmaking generally associated with later Ealing. Not a comedy in their classic mould, nor a wartime drama or social-realist piece, and is presumably a holdover from the Basil Dean era.
Based on the play by G P Bancroft, The Ware Case opens with a courtroom sequence set in the Old Bailey where we find society scoundrel Sir Hubert Ware (Clive Brook) on trail for the murder of his brother-in-law, the events leading up to which are subsequently told in flashback.
It’s lighthearted enough and some of the dialogue is humorous but a romp this ain’t. The central character of Ware is an unlikable fellow and the rest of the characters are all a little too one dimensional to really relate to. As an example of embryonic Ealing it certainly has curiosity value but, to be honest, I found the whole thing rather dull.
Robert Stevenson directs with efficiency but shows little of the flair for the fantastic he would display in his later career association with Walt Disney Productions. Responsible for Mary Poppins (1964), The Love Bug (1969) and Bedknobs and Broomsticks (1971) among others, he would become the most commercially successful film director in Hollywood.
Check out my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Ealing Studios classics!
THE LOVE BUG (Robert Stevenson, 1969).
Released three years after the death of the its founder, Walt Disney Productions’ The Love Bug continued the tradition of fantasy comedies established by the studio a decade earlier with The Shaggy Dog (Charles Barton, 1959). It introduced Herbie, the anthropomorphic VW Beetle, to cinema audiences and would prove a massive hit for Disney, spawning a franchise which would include four theatrical sequels, a TV series and a made for TV movie.
The movie stars Dean Jones as washed up racing driver Jim Douglas whose fortunes are reversed thanks to the lovable VW Bug. He is pitted against arch rival David Thorndyke, who uses every dirty trick in the book to defeat Douglas in a cross-country race, the stakes of which are ownership of Herbie.
Disney regular Jones and love interest Michelle Lee make for attractive leads and prove themselves adept at light comedy. Less subtle, but just as effective are Buddy Hackett as a kooky new age mechanic and Joe Flynn as Thorndyke’s long suffering assistant. Best of all is the magnificent David Tomlinson as the comically villainous Thorndyke.
Ultimately the star is, of course, the car; brought to life through a combination of impressive stunt work and pre-CGI effects that hold up fine 50 years after release. Herbie has an endearing puppy dog charm and more personality than most humans!
Bill Walsh and Don Da Gradi’s screenplay mixes slapstick humour with some genuinely witty dialogue while Robert Stevenson, arguably the greatest director on the Disney roster, brings his flair for whimsical fantasy to what might be his best work after Mary Poppins (1964).
The Love Bug was to become the highest grossing movie of 1969 and one of the highest earners of all time. It’s easy to see why. With its winning mix of racetrack thrills and good natured laughs, it is a deftly performed, expertly crafted gem.
Check out my blog JINGLE BONES MOVIE TIME for more reviews of vintage Disney classics! Link below.
THE HORSE IN THE GRAY FLANNEL SUIT (Norman Tokar, 1968).
Based on Eric Hatch’s book The Year of the Horse, Walt Disney Productions’ The Horse in the Gray Flannel Suit is a lighthearted comedy set in the world of showjumping.
Madison Avenue advertising executive Fred Bolton (Dean Jones) has just 24 hours to appease a client and save a valuable account. He hits upon the idea of sponsoring showhorse Aspercel - named for his client’s brand of indigestion tablets - which his shy daughter will hopefully ride to glory.
Jones, in his 5th film for Disney is an amiable leading man. Diane Baker is equally likeable as his romantic interest. In her sole movie credit Ellen Janov impresses as Bolton’s daughter, while Disney regulars Kurt Russell and Norman Grabowski appear in smaller roles.
Yet despite this quality cast the movie is something of a disappointment.
To describe The Horse in the Gray Flannel Suit as a gentle comedy would be an understatement. There are plenty of mild chuckles but few big laughs in a movie that canters rather than gallops to the finishing line. Even its climax at a critical International Horse Show event fails to generate much excitement.
It seems a little redundant to be over critical of The Horse in the Gray Flannel Suit. It is well meaning and completely inoffensive yet also predictable and slightly dull. At just shy of 2 hours it is also about 20 minutes too long. In fact it is only the game playing of the appealing cast that saves it.
If you’ve seriously nothing better to do it will while away a couple of hours. Horse lovers will undoubtedly enjoy the equine aspect but, to be honest, it is no champion.
Check out my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Disney classics!
YOUNG MAN’S FANCY (Robert Stevenson, 1939).
Young Man’s Fancy is a very early comedy from the Ealing Studios. Released in what was producer Michael Balcon’s second year as studio head, the movie has few of the hallmarks later associated with Ealing.
Griffith Jones stars as aristocrat Lord Albarn who is to be wed to a brewery heiress. Unhappy with the marriage of convenience he rebels, visiting a music hall and falling for human cannonball Ada (Anna Lee).
Ada agrees to help Albarn out of the forthcoming wedding but soon the pair are caught up in the Siege of Paris and the events of the Franco-Prussian War.
Such an odd dramatic turn in an otherwise frothy rom-com is slightly jarring but don’t let that put you off of this surprisingly entertaining movie. Not only are there plenty of laughs but it also has a social conscious rare in 1930s British cinema outside of the Documentary Movement.
The talented Robot Stevenson only directed three films at Ealing before decamping to Hollywood where he gained critical and commercial success with Jane Eyre (1943). Late in his career he worked almost exclusively for Walt Disney Productions where he was responsible for number of excellent family drama and fantasy films including Old Yeller (1957) and Mary Poppins (1964). Young Man’s Fancy is probably the best of Stevenson’s Ealing output, a somewhat frivolous but enjoyable ‘B’ picture from his and the studio’s formative years.
Check out my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Ealing Studios classics!
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
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!
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!
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 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.
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.
THE APPLE DUMPLING GANG (Dir: Norman Tokar, 1975).
Comic western from Walt Disney Productions which provides a pre-Incredible Hulk Bill Bixby a rare opportunity as leading man in a feature film.
Three orphans, the unwitting wards of gambler Russell Donovan (Bill Bixby), attract the attention of prospective adoptive parents when they strike gold in former mining community of Quake City. To protect the kids from gold-digging townsfolk, Donovan arranges a sham marriage with stagecoach driver Dusty (Susan Clark) with a plan to adopt the youngsters; meanwhile the children's money grabbing legal guardian John Wintle (Don Knight) gets wind of their windfall. Determined to remain in the care of Donovan and Dusty, the trio, assuming the name The Apple Dumpling Gang combine forces with second rate bandits Amos (Tim Conway) and Theodore (Don Knotts) aka The Hash Knife Outfit. Together the gang plot to stage a bogus burglary which would allow Amos and Theodore to keep the nugget while deterring the self-serving Wintle. The clumsy crims are making a fine mess of thing when real life robbers turn up to alleviate the loot from the city bank.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
ESCAPE TO WITCH MOUNTAIN (Dir: John Hough, 1975).
A family friendly, sci-fi suspense from Walt Disney Productions. Based upon the 1968 novel by Alexander Key.
Tony (Ike Eisenmann) and Tia Malone (Kim Richards) are two orphaned kids with ESP. Where they got their powers and where they come from is a mystery but makes them outcasts among their peers in the children’s home. Their powers attract unwanted attention from powerful but crooked businessman Aristotle Bolt (Ray Milland) and his assistant Lucas Deranian (Donald Pleasence). Posing as the Malones’ uncle, Deranian adopts the pair with the intention of exploiting them. Escaping from the clutches of Bolt and Deranian the kids stowaway aboard the motor home of curmudgeonly widower Jason O’Day (Eddie Albert) who eventually warms to them and agrees to take them to Witch Mountain, a mysterious place which is somehow connected to Tony and Tia’s past.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
Years ago Johnny Carson apologized and explained that he used a word on his previous show that was 'inappropriate' that was rejected by the television network sensors. He awkwardly murmured that he instead should have said “A woman is 'expecting' or 'Is with child.'” By the moral standards of the 1960’s and before, use of the word 'pregnant' was not acceptable to use in society.
While there once was a time in our world when we all had a basic sense of right, wrong, and decency about what was appropriate and acceptable, as today’s scripture passage says, evil people’s standards have shockingly and unabashedly become mainstream and embraced by many not only as OK, but acceptable. Since the Supreme Court rulings of the early 1960’s that forbid prayer and Bible reading in schools, as a result there are perhaps three or four generations that have no idea of morality and civility as what was previously regarded in the public sphere.
The grotesque picture alongside this message is from a January 22, 2022 ad for an upcoming movie produced by the Walt Disney company called “FLESH” and is just one example of the consequences of a society lacking a moral compass. This film is being marketed as a romantic-comedy with a morbid backstory about a young lady dating a plastic surgeon who discovers that her boyfriend is a cannibal that sells body parts to other flesh eaters. Hollywood movie reviewers have hailed the movie as 'a breakout hit' and popular movie rating site *Rotten Tomatoes* gave it a rating of 85 out of 100.
This movie — and it’s message about where we are as a society and how far we have fallen morally — speaks for itself. Just as the Bible has prophesied and Jesus said, the hearts of many will (and have) grown cold.
Friend, the only way to escape this madness is to turn back to the last and ONLY standard of truth and morality, and that is God and His Holy Word, the Bible. Turn to Christ today, and “Love Not (this) World” [ 1 John 2:15 ] before IT Consumes You.
God Bless Your Day Jesus Loves You
NotesOnLife.org
