Klaus (2019)

Klaus (Dir: Sergio Pablos, 2019)

Just when you think you have seen all the Santa origin stories you care to, along comes Klaus. Netflix’s first original animated feature film, Klaus made its debut on the streaming service in November 2019; an early gift for the festive season. Produced by Sergio Pablos Animation Studios, it is the directorial debut of studio head Pablos, the co-creator of Universal's highly lucrative Despicable Me franchise.

Incompetent postman Jesper (Jason Schwartzman) is sent by his Postmaster General father to establish a post office in the remote northern isle of Smeerensburg. On arrival he finds a divided community, engaged in a bitter feud, who barely speak to each other, let alone send mail. Determined to succeed he seeks out each town member to extol the virtues of the postal service, including Klaus (J K Simmons), a mysterious, solitary figure with a workshop full of toys. The pair team up to distribute the toys to the unhappy Smeerensburg children, creating some new Christmas traditions along the way.

Klaus is as warm and heartfelt as you would expect a Christmas movie to be. Sure, it is sentimental, but never slushy and with genuine pathos in Klaus' backstory. Its distinctive visual style and expressionistic use of colour help make it one of the most visually pleasing animated features in recent years; the 2D animation combines the slickness that audiences would expect of a modern animated feature with a cartoony style reminiscent of the Mid Century Modern stylings of the UPA animation studios. 

While Klaus does cover some similar ground to the Rankin/Bass TV favourite Santa Claus Is Comin’ to Town (Arthur Rankin Jr & Jules Bass, 1970), in all other respects it is easily the most imaginative take on St Nick's early years for sometime. 

In a year where cinema release schedules have been dominated by animated sequels, first time director Sergio Pablos has crafted a movie which feels fresh and original, yet reassuringly tradition. It is arguably the most satisfying Christmas movie of the decade and seems destined to become a holiday classic. 

A Flintstones Christmas Carol (1994)

A Flintstones Christmas Carol (Dir: Joanna Romersa, 1994).

Geological puns abound, as Fred Flintstone stars as Ebonezer Scrooge against Barney Rubble’s Bob Cragic in this modern Stone Age retelling of Charles Dickens’ Christmas classic. 

The Flintstones is, of course the enormously successful animated TV sitcom from Hanna-Barbera which, prior to The Simpsons (1989 - present) was television’s longest running prime time cartoon series, originally airing for 6 seasons between 1960 and 1966. That this movie was made 30 years after the heyday of the show demonstrates the continued enduring popularity of the franchise. 

Rather than a straight adaptation of Dickens’ familiar tale of festive redemption, A Flintstones Christmas Carol takes a tip from Mr Magoo’s Christmas Carol (Abe Leviton, 1962) and presents the story as a play within a story. So, running parallel to the events of the Bedrock Community Players performance of A Christmas Carol, we have the story of Fred, so engrossed in his role of Scrooge that he neglects his family duties until the lines between he and Ebonezer begin to blur. If you can buy that a group of cavemen are celebrating Christmas a few millions years before the birth of Christ, than you will have no trouble accepting them performing in a version of a story first published in 1843. 

Casting The Flintstones in the roles of Dickens’ characters is a nice idea. Not a particularly original idea, but I can see the appeal. The backstage story which runs alongside it is less engaging and the two strands work against each other to make for a somewhat choppy narrative. It isn’t a bad movie; made for US TV, the standard of animation is a shade better than normal Saturday morning fare and there is undeniable nostalgic value for those of a certain age. Familiar vocal work from Henry Corden (Fred) Jean Vanderpyl (Wilma) and Hanna-Barbera stalwart Don Messick (Bamm Bamm) adds to the fun. 

Yet what is appealing in a 25 minute TV show is not quite as fun when stretched to nearly three times that length. While I enjoy The Flintstones on TV, I found A Flintstone Christmas Carol a little bit of a chore to watch come the halfway mark. Still, while it is a little disappointing in the story department, its colourful animation is above average and it does provides some mild chuckles. However, I think a straight version of the tale would have been better and can’t help but feel this somewhat of an opportunity missed. Longtime fans will probably get a kick out of the movie, but it’s not quite the ‘gay old time’ it might have been. 

Beyond Tomorrow aka Beyond Christmas (1940)

Beyond Tomorrow aka Beyond Christmas (Dir: A Edward Sutherland, 1940)

My quest for obscure vintage Christmas movies has arrived at Beyond Tomorrow, a curious little movie with a somewhat convoluted plot.

A trio of wealthy businessmen (Harry Carey, C Aubrey Smith and Charles Winninger) play matchmaker to a teacher (Jean Parker) and a misplaced cowboy (Richard Carlson). When the three are tragically killed in a plane crash they return as ghosts to watch over the couple whom they have left a significant inheritance.

Beyond Tomorrow is one of a handful of Hollywood movies of the era to deal with themes of spirituality and guardian angels; notable examples include Here Comes Mr Jordan (Alexander Hall, 1941) and It's a Wonderful Life (Frank Capra, 1946). Unfortunately this movie is nowhere near the caliber of those classics.

Although relatively short, at roughly 80 minutes, I found it a chore to watch. It's early scenes, centered around the holiday season are easily its best. However the film soon descends into hollow sentimentality and mawkishness, with Adele Comandini's screenplay lacking the dramatic strength to overcome the corny and frankly odd premise. The 'B' movie is also lacking star talent, although Richard Carlson later would make an impression in Universal's late period monster flick Creature from the Black Lagoon (Jack Arnold, 1954). A bigger name would certainly have lent the movie a little more cache but, to be honest, I think it would do little to help either the pedestrian script or A Edward Sutherland's workmanlike direction. 

I also feel this movie was slightly miss sold, as only its first third is festive. In a shameless yuletide cash grab the movie has latterly been marketed as Beyond Christmas. Cynical though this may be, the title is actually more accurate as much of the feature does, indeed, take place after Christmas!

I am a sucker for a decent Christmas film and Golden Age Hollywood is my favourite era of filmmaking, but this turkey of a movie did nothing for me. By all means worth a watch for the curious. Just don't expect it to fill you with Christmas joy. 

Turkey Hollow (2015)

Turkey Hollow (Dir: Kirk R Thatcher, 2015).

Jim Henson’s Turkey Hollow, to give the movie its full on-screen title, is based upon a Henson project unrealised during the Muppet master’s lifetime. 

As originally co-written by Henson and Jerry Juhl, The Musical Monsters of Turkey Hollow, would presumably have taken the form of a holiday special along the lines of Emmet Otter’s Jugband Christmas (Jim Henson, 1977) and the Easter special The Tale of the Bunny Picnic (Jim Henson & David G Hiller, 1986).  Instead Turkey Hollow is a feature length TV movie combining puppets and humans, produced by The Jim Henson Company for the Lifetime Network.

Following their parents divorce, teenagers Tim (Graham Verchere) and Annie (Genevieve Buechner) are forced to spend the Thanksgiving holiday with their Aunt Cly (Mary Steenburgen) in the rustic town of Turkey Hollow. Learning of a local 10 foot mythical monster The Howling Hoodoo, Tim sets out to find the beast. Instead he encounters the friendly forest monsters Squonk, Zorp, Burble and Thring as well as uncovering the illegal activities of a neighbouring turkey farmer, who poses a threat to his Aunt's farm. 

As dictated by its made-for-TV budget, Turkey Hollow is not as lavish as Henson's fantasy epics The Dark Crystal (J Henson & Frank Oz, 1982) or Labyrinth (J. Henson, 1986). Neither is it the Muppet-fest you may have hoped for. The puppets are used fairly sporadically and serve the otherwise human led story. However, when they do appear, the puppets, as you would expect, are excellent. Their time on screen is the undoubted highlight of the low key movie and the foursome are as appealing as any other monsters to emerge from the Henson stable. The humans almost take a backseat whenever the puppets appear, although performances are solid throughout, especially the always dependable Mary Steenburgen. 

The plot of Turkey Hollow is simple and not particularly original; the movie equivalent of a light snack rather than a Thanksgiving feast, with an unnecessary narration by Chris 'Ludacris' Bridges as the stuffing. Nothing against Mr Bridges; he is personable enough in his role of narrator and wears some lovely knitwear. However, these breaks in the narrative are merely exposition where none is needed. Presumably the lead in and outs for commercial breaks during TV airings, these segments seem intrusive when the feature is viewed on DVD without intermissions. A romantic subplot between Aunt Cly and local Sheriff Grover (Reese Alexander) feels both under developed and slightly out of place and the one dimensional bad guys will only seem like a genuine threat to the youngest audience members. Otherwise the movie is a mostly endearing tale which, while not approaching the genius high standards of his best work, does nothing to tarnish the legacy of Mr Henson.

The Thanksgiving special is a far less common beast than the Christmas or Easter special. As such, this movie is a nice addition to that fairly exclusive club and, due to scarcity, is ultimately one the better examples of the genre. Turkey Hollow may not quite rank as a holiday classic, but it is a sweetly old fashioned treat and one you should find merits re-visiting during the festive season. 

Terminator: Dark Fate (2019)

Terminator: Dark Fate (Dir: Tim Miller, 2019).

Terminator: Dark Fate does its best to refresh a tired franchise after the last 3 series' entries were met with disappointment. As such we are advised to forget those, as this 6th movie reboots the series continuing where Terminator 2: Judgment Day (James Cameron, 1991) left off. 

Taking place 25 years after the events of Terminator 2, Dark Fate sees the return of original movie's hero Sarah Conner (Linda Hamilton). Teaming up with time travelling augmented human Grace (Mackenzie Davis), the pair are tasked with protecting Dani (Natalia Reyes) a young woman who is the target of REV-9 (Gabriel Luna), a Terminator sent from the future to kill her. The threesome eventually team up with Conner's old foe the T-800 model Terminator (Arnold Schwarzenegger), now 'living' in a secluded woodland retreat. Reality kinda takes a back seat as the four battle the seemingly indestructible Rev-9, intent on succeeding in its mission. 

The ending of the original The Terminator (James Cameron, 1984) suggested that any sequel would continue the saga of Sarah Conner. However, such was the impact made by Mr Schwarzenegger that any further Terminator movie would centre on the Terminator himself (itself?). Sarah’s story was told on TV in The Sarah Conner Chronicles (2008-2009) but it is nice to finally see her character receive the big screen outing she was previously denied. 

Based on a story by series creator James Cameron, fans of The Terminator franchise are on pretty safe ground with this latest movie, which sees the series finally back on track. It is less goofy than the entertaining nonsense of Terminator 3: Rise of the Machines (Jonathan Mostow, 2003) yet with enough of the humour missing from the rather dry Terminator Salvation (McG, 2009). Spectacular special effects and high octane action sequences are present and correct. The pace barely waivers and an early car chase is so impressive that the remainder of the movie has a hard time topping it. An extended climax somewhat stretches believability but, ultimately, Dark Fate is one of the more satisfying sci-fi actioners of recent years and a good addition to the series.

Performances are strong throughout. Those expecting a top lining Arnie may be a little disappointed; his screen-time is less than some publicity may have lead you to expect. Yet, serious minded female centred action movies are still a rarity and the three-hander between its leads lends this a welcome and distinctly different flavour to most action flicks. 

Despite its good points Dark Fate has been greeted with a lukewarm box office. Possibly the decision to market it a sequel to Terminator 2 has alienated younger audiences or, more likely, sequel/re-make/re-boot fatigue has set in. If this is the last we see of Terminator then at least the series has gone out on a high. I suspect this movie might find more appreciation in the home market and could well mean the series will "be back" at some point in the future.

Midway (2019)

Midway (Dir: Roland Emmerich, 2019).

The events of this true life WWII campaign were previously filmed as the similarly titled Midway aka Battle of Midway (Jack Smight, 1976). Not having seen the earlier account, I will not make comparisons between the two movies. 

Midway begins with the events surrounding the attack on Pearl Harbor and chronicle the subsequent naval battle of the Pacific. Best known for directing big budget sci-fi blockbusters Stargate (1994) and Independence Day (1996), Roland Emmerich may seem an unlikely choice to helm a serious wartime drama. Midway, however, was pet project for Emmerich, one that he has fought to bring to the screen for many years. 

Thankfully he tells the story straight. Certainly the special effects spectacle one expects from Emmerich is here, as are the breathtaking action sequences. Yet these scenes are broken by the necessary detailing of the campaign. This pacing allows the action to breath and helps the movie be more than just an exercise in visual effects. 

An fairly star-studded line-up was assembled for the movie, including Ed Skrein, Patrick Wilson, Luke Evans, Nick Jonas, Woody Harrelson, Dennis Quaid and Mandy Moore. As is often the case with these kind of movies, the actors are somewhat overshadowed by the spectacle. Although in fairness, the quality cast give solid performances throughout.

Midway is a decent movie, although one that, perhaps, brings nothing new to the war movie genre. A sense of the familiar is not necessarily a bad thing in a period movie but it’s underperformance at the box office suggests that old fashioned WWII features are a difficult sell to modern moviegoers, even with the presence of a Jonas Brother! That said, I did enjoy it. It is a worthy story, told in an impressively mounted and entertaining manner. If you want to watch it, it is worth catching its on the big screen where it spectacle can be fully appreciated. 

Mighty Joe Young (1949)

Mighty Joe Young (Dir: Ernest B Schoedsack, 1949).

16 years after scoring a massive hit with fantasy epic King Kong (Merian C Cooper & Ernest B Schoedsack, 1933), RKO Radio Pictures resurrected the mega-ape genre with Mighty Joe Young. Returning are Kong producers and directors Ernest B Schoedsack and Merian C Cooper and star Robert Armstrong. But this is no sequel to King Kong and its follow-up Son of Kong (Ernest B Schoedsack, 1933). Rather, Mighty Joe Young is something of a cousin of Kong or, if you will, a spiritual sequel. It certainly does a better joy of replicating the spectacle of the original movie than Son of Kong. 

Joe is a massive gorilla (not as big as Kong, but still pretty hefty) raised by young Jill Young (Terry Moore) in his African home since a baby. Persuaded by showman Max O’Hara (Robert Armstrong) and his buddy Gregg (Ben Johnson) to accompany them to the US, Max employs Jill and Joe as star attraction at his California nightclub. As is often the case with exhibiting giant gorillas (or, indeed, dinosaurs), things do not go to plan. Otherwise gentle Joe is taunted by drunks to the point where he wrecks the joint. With Joe subsequently imprisoned, Jill, Gregg and Max plot a daring rescue attempt to free the gorilla and return him to Africa. 

Of the human cast, Terry Moore and Ben Johnson make for attractive leads, Moore is particularly touching in her scenes with Joe. Robert Armstrong is effective in a similar role to that of King Kong with a welcome comic sidekick in Frank McHugh. The quality cast undoubtedly adds to the enjoyment of Mighty Joe Young, but let’s be honest, none of us are really here for the actors. 

Shot in black and white with dramatic use of colour filters, Mighty Joe Young is a visual treat. King Kong’s Willis O’Brien and assistant Ray Harryhausen handle the outstanding special effects which elaborate upon the techniques perfected in Kong. Joe is brought to life by beautiful stop motion animation and the interaction between him and his human counterparts is astonishing! A scene where Joe wrestles live action/animated lions is particularly impressive as is the dramatic climax in which Joe rescues children from a burning orphanage. 

While it did not have the same impact as the original King Kong, Mighty Joe Young is an impressive movie in its own right with much to recommend it. It is undoubtedly more sentimental than Kong but it is still a thoroughly entertaining feature; well paced, with plenty of humour amidst the thrills and some of the most spectacular visual effects committed to celluloid. Fans of King Kong not familiar with Mighty Joe Young would do well to check out this fantasy classic! 

The Son of Kong (1933)

The Son of Kong (Dir: Ernest B Schoedsack, 1933). 

How would the makers of Son of Kong manage to top the groundbreaking, blockbuster original King Kong(Merian C Cooper & Ernest Schoedsack, 1933)? Short answer: they wouldn’t. But neither did they try. Ernest Schoedsack returns as producer/director but Merian C Cooper, his collaborator on the first movie, bowed out when RKO slashed the budget. Scriptwriter Ruth Rose also returns, as do cast members Robert Armstrong as Denham and Victor Wong as Charlie the Cook. 

A month after the disastrous events of the first movie, beleaguered showman and moviemaker Carl Denham escapes his creditors by chartering a ship to Kong's Skull Island, in search of mythical hidden treasure. Joined by an animal trainer cum singer (Helen Mack) and shady ships' captain (Frank Reicher) and faithful cook Charlie, the gang are cast overboard by a mutinous crew and arrive on the island via rowboat. After a hostile encounter with the native islanders they encounter the ape sinking into quicksand. Denham and the singer (unnamed in the movie but referred to as Hilda in the credits) rescue pint-sized Kong who then befriends the pair as they battle a cave bear and brave a massive earthquake in their search for riches. 

Although this movie lacks the grandiose special effects set pieces of the original King Kong, Kong Jr is still an impressive beast. There are certainly some effective sequences, such as baby Kong wrestling with dinos like his old man before him. The climactic earthquake also offers plenty of thrills. However budget and time constraints - Son of Kong was released a mere nine months after King Kong - means that the spectacle is on a distinctly smaller scale this time around. 

Smaller than his pa at 12 foot, as opposed to Kong’s 20ish foot, Kong Jr is also more anthropomorphised than his father. The stop motion ape is, once again, beautifully animated by special effects genius Willis O’Brien. Yet with more human like expressions he is less menacing than his dad, but likewise less sympathetic. This ups the comedic aspect but ultimately makes for a less awe-inspiring beast and somewhat hampers any dramatic aspects of the movie. In fact, apart from the tragedy that befalls one character, Son of Kong adopts a much lighter, more comic tone than its predecessor. As a result the movie is, sadly, less impressive, less poignant and less engaging than the original King Kong. But it is by no means the disaster it was initially perceived to be. 

A major disappointment in its day, the years have been kind to Son of Kong. Its special effects are still superlative; the performances are strong and at barely 70 minutes it doesn’t outstay its welcome. While seen as a minor footnote to its mighty predecessor it is certainly not the worst movie of the Kong franchise. Lower your expectations (slightly) and you will find The Son of Kong a highly entertaining time waster. 

Related reviews: 

King Kong (1933): 

https://jinglebonesmovietime.blogspot.com/2019/10/king-kong-1933.html?m=1

Bugsy Malone (1976)

Bugsy Malone (Alan Parker, 1976). 

Alan Parker’s feature film directorial debut is really something special. A musical homage to 1930’s gangster movies with a cast made up entirely of children really shouldn’t work, but it does. 

Gang warfare rages in Prohibition-era New York as hoods Fat Sam and Dandy Dan battle for supremacy in the city. Armed with newfangled splurge guns (whipped cream firing machine guns), it looks like Danny Dan’s mob is winning. Speakeasy owner Sam engages good guy Bugsy Malone to help in his fight against Dan, while Bugsy has his sights set on aspiring showgirl Blousey Brown. 

Recalling both the classic Warner gangster flicks and early backstage musicals, Bugsy Malone is itself a film which largely avoids categorisation. It is a love letter to the Hollywood of the 1930s. The beautifully detailed sets of dimly lit back alleys and colourful speakeasies faithfully recalling the era of Cagney and Robinson. Paul Williams superb jazz inspired score provides perfect accompaniment to the visuals, while the witty, quick fire dialogue would befit a period screwball comedy. The soft focus camera work and plethora of brown on display gives the feel of an old sepia tone photograph and adds to the era atmosphere. 

All of which would matter nought, were it not for the engaging performances from its juvenile cast. An assured and charismatic performance by Scott Baio (later to find fame in TVs Happy Days) as Bugsy is surprisingly his first screen appearance. As was true of much of the cast. Florrie Dugger is touchingly melancholic as Bugsy’s gal Blousey in her only movie, while John Cassisi embodies gleeful roguishness as Fat Sam, one of only a handful of acting roles for the youngster. Only Jodie Foster, in the supporting role of showgirl cum moll Tallulah, was a veteran performer. Following a handful of Disney movies and, of course, her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976), Foster gives the first rate professional performance you would expect. But to the credit of the cast and director Parker, none of the kids put a foot wrong and are never upstaged by the more experienced star. 

It is hard to offer any genuine criticism of Bugsy Malone. It is a movie which sets out to entertain and it does just that. Narratively speaking, the movie’s climax is a little unsatisfactory; wrapping things up with a big song and dance number. However, so much imagination and creativity has gone into producing the rest of the film that this seems a minor gripe at best and, honestly, the sequence is so much fun that no one should really care! 

There really is nothing else like Bugsy Malone in cinema history. As artful as it is entertaining and equally enjoyable for children and grownups; a unique, unadulterated pleasure from beginning to end! 

King Kong (1933)

King Kong (Dir: Merian C. Cooper & Ernest B. Schoedsack, 1933).

RKO Radio Pictures’ modern day Beauty and the Beast is the daddy of all monster movies; chronicling the tale of the Eighth Wonder of the World, King Kong. 

Maverick filmmaker Carl Denham (Robert Armstrong) and actress Ann Darrow (Fay Wray) travel to the exotic Skull Island to shoot Denham's latest movie, there encountering the 20 foot tall ape King Kong. Kong falls for Darrow and is used by Denham as bait for the primate's capture. They return to New York with the intention of parading the mammoth beast before a paying public. The plan fails when Kong goes ape, resulting in a climax both thrilling and surprisingly touching and featuring one of the greatest last lines of any movie. 

The term 'movie magic' might easily have been coined to describe King Kong. Co-producer and directors Merian C. Cooper and Ernest B Schoedsack's epic fantasy was the most ambitious and groundbreaking feature of the early sound era; a predecessor of the modern special effects blockbuster. 

With a cast relatively unknown to modern audiences the real star of the picture is, of course, the gorilla. We are roughly halfway through the movie before we meet Kong. He is mesmerising. Provoking terror and eliciting sympathy from the audience, Kong is completely believable as a living, breathing creature. The animated ape has more personality than most leading men!

Willis O’Brien’s stop motion special effects are astonishing. From fighting dinosaurs in his Skull Island jungle home to derailing an elevated railway train in New York, King Kong is full of breathtaking special effects set pieces. A scene where an animated Kong shakes real life actors from a log bridge must have seemed miraculous in 1933, while the sight of Kong atop the Empire State Building is one of cinema’s most iconic and enduring images. Of course the effects do not look as slick as modern day computer graphics but they do have a tactile quality missing from CGI. They are certainly more impressive than the man in the monkey suit of some later Kong movies and for an 85+ year old movie look pretty darn fine to me.

The enormous impact of King Kong cannot be overestimated. A sequel Son of Kong (Ernest B. Schoedsack, 1933) was rushed into production and released within a year of the original. Kong would inspire countless imitations and spawn further sequels, remakes and reboots including the forthcoming Godzilla vs Kong (Adam Wingard, 2020). While, admittedly, many of the Kong spin-offs have had their merits, the original has never really been equalled. 

A truly astounding piece of filmmaking, King Kong is a work of art that is rightly regarded a masterpiece. 

NOTE: King Kong is also available in a computer colorized version. I would recommend avoiding this. This classic is best enjoyed in beautiful black and white. 

Pooh's Heffalump Halloween Movie (2005)

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. 

Presented as an original movie and opening in a style similar to the classic Pooh featurettes, one would be forgiven for thinking this was a regular feature film. The repackaging of TV product as new material was common at Disney in the early 2000s. Arguably detrimental to the studio's reputation, this is a practice that they have thankfully discontinued. The patchwork nature of the movie is evident in the varying animation styles between the segments. The TV episode, although of higher quality than most TV animation, cannot help but look like a 1990s Walt Disney Television Animation production. The latter material is overall brighter, cleaner and exhibits a little more fluidity than Boo to You! and considering its made for video origins is quite pleasing. 

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 fans of the bear of very little brain 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 is based.

Related reviews:

Winnie the Pooh: Springtime with Roo (2004):
https://jinglebonesmovietime.blogspot.com/2019/06/movie-41-winnie-pooh-springtime-with-roo.html

Winnie the Pooh (2011):
https://jinglebonesmovietime.blogspot.com/2019/06/movie-50-winnie-pooh-2011.html

Birds of Prey aka The Perfect Alibi (1930)
https://jinglebonesmovietime.blogspot.com/2019/05/movie-number-13-birds-of-prey-aka.html

The Lion King (1994)

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 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. 

Unlike previous blockbusters The Little Mermaid (Ron Clements & John Musker, 1989), Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991) Aladdin (Ron Clements & John Musker, 1992), this movie was not based upon a traditional fairytale. Rather, The Lion King was an original property, albeit one which is rooted in theatrical and cinematic classics. Dubbed ‘Bamblet’ by the Disney animators, the similarities to Bambi (David Hand, 1941) and William Shakespeare's Hamlet are hard to ignore but somehow The Lion King is more than the sum of it’s parts and never feels derivative of it thematic forefathers. 

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. 

In the 25 years since release Disney has continued to revisit the property with varying results. Releasing two made for video sequels The Lion King 2: Simba’s Pride (Darrell Rooney, 1998) and The Lion King 1 and 1/2 (Bradley Raymond, 2004). In 2019 it was remade as a photorealistic CGI epic (directed by Jon Favreau), returning The Lion King to the top of the box office charts. As is often the case, however, the original is the best. 

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. 

Mosby's Marauders aka Willie and the Yank (1967)

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.

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. Following the success of the similarly edited feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), it was common practice for Disney to recycle its television product in this way, particularly for countries that did not receive the programme. Apart from exhibiting a somewhat episodic narrative, this transference from small screen to big screen was barely noticeable. I doubt many cinemagoers realised they were watching a movie originating on television, thanks to the series excellent production values. Usually these movies were screened as the second half of a double feature, such is the case with Mosby's Marauders which was released in the UK alongside the comedy Monkeys Go Home! (Andrew V. McLagan, 1967).

Edited from three hour long episodes to an 80 minute feature film, it would be fair to assume that the movie suffered from such sever cutting. However, the version I watched for the purpose of this review was a full 135 minutes. I imagine this version is a reconstruction, combining the full length TV episodes (allowing for 10 to 15 minutes of commercials when broadcast) and the theatrical opening and end titles from the UK release. Presumably this was assembled for home video in the 1980s or 1990s. I can find no evidence to back these claims, but as the same reconstruction technique was used for the video release of an extended cut of Dr Syn Alias the Scarecrow aka The Scarecrow of Romney  Marsh (James Neilson, 1963), it seems likely that this is also the case for Mosby's Marauders.

To be honest, I would imagine that watching this movie in either its edited form or as three individual TV shows would be a more rewarding viewing experience. It does suffer from an episodic narrative and is rather slow paced, neither of which would be issues when viewed over three separate weeks but is a little harder to take in a movie approaching a 2 and 1/2 hour run time. Which is not to suggest that I did not enjoy the film. With exteriors shot at Disney's Golden Oak Ranch moviemaking facility, it is a handsome outdoor adventure with none the budgetary restraints one might expect from a TV movie. 

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). Nick Adams, who found fame in Rebel Without a Cause (Nicholas Ray, 1955) and Picnic (Joshua Logan, 1956), struggled later in his career. He is great here as the callous Sgt Gregg, a year before his untimely death from a drugs overdose aged just 36. 

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. It also has a surprisingly high body count for a Disney movie, inevitable considering its subject. Perhaps this, more than anything, has seen the movie fall into obscurity; a fate which it doesn't deserve. 

The Disney TV output of the 1950s and 1960s was always a high quality product and it is a shame that so little of it is available today. It is fair to suggest that moderm audiences, especially children, may be put off by the movie's subject matter and the fairly dry manner in which it is presented. With it's Civil War theme and high body count this is possibly not a Disney movie to show the kids, at least without engaging in conversation about the atrocities of war and the repercussion it has for both sides. While its narrative issues and lengthy runtime do not work in its favour, it is certainly worth a watch.