It Came from Outer Space (1953)

It Came from Outer Space (Jack Arnold, 1953).

Famous for their influential horror movies of the 1930, by the 1950s Universal Studios focus had shifted to a different kind of monster movie. Informed by increasing fear of nuclear war and the threat of Communism, seminal sci-fi movies such as This Island Earth (Joseph Newman, 1955) and The Incredible Shrinking Man (Jack Arnold, 1957) helped ligitimise the genre from its previous associated with comicbook serials and kid's Saturday Morning Pictures. The template for these serious minded, paranoia soaked sci-fi features was set with the first and most influential of the series, It Came from Outer Space.

Amateur astronomer John Putnam (Richard Carlson) is the only witness to a spacecraft crash on the outskirts of the small desert town of Sand Rock, Arizona. When his fellow townsfolk start acting suspiciously he expects alien influence. Convincing his girl Ellen (Barbara Rush) and cynical local sheriff (Charles Drake), a posse is assembled to flush out the intruders. Certain that the intelligent aliens are benign and pose no threat, John must keep the angry mob at bay while essential repairs are made to the damaged craft. Failure to do so risks the life of his captured pals. 

Based on an unpublished story by sci-fi maestro Ray Bradbury, It Came from Outer Space is, on the surface, a film about alien invasion. Yet, as with much of the sci-fi of its era, the movie serves as an analogy for the very real post-War fear of Communist infiltration. While acknowledging Bradbury with a story credit, the sole screenplay credit is attributed to Harry Essex. However, it is widely rumoured that he did little more than retype Bradbury’s original treatment, adding FADE IN/FADE OUT where necessary. While this may be an unfair assessment of Essex's contribution it cannot be ignored that the themes and particularly the poetic prose are very much evocative of Bradbury's writing. 

Originally, the alien in its non-human form was to remain unseen. Universal's insistence that the creature appear on camera resulted in some hasty reshoots. In truth, the myopic monster looks a little homemade but this does little to detract from the overall quality of the visual effects; particularly the initial crashlanding which sees the meteor-like craft hurtle at speed toward the audience. Shot and originally exhibited in 3D, the movie is surprisingly light on things being lobbed at the screen, so works just fine when viewed flat. Clifford Stine's beautiful black and white cinematography perfectly captures the eerie isolation of the desert surrounds, giving the impression of a barren alien landscape.  

Director Jack Arnold was a master at this sort of thing. In the hands of a lesser director it may easily have ended up B-movie sci-fi schlock. However, Arnold delivers an intelligent comment on the political and social mores of 1950's America; at its heart a plea for the acceptance of others. He elicits fine performances from a not exactly starry cast, as the drama unfolds with tension mounting pace. The action is drenched in an innovative and influential theremin rich soundtrack which adds to the eerie ambience. 

Although the Communism analogy may be lost on modern audiences, It Came from Outer Space is still an excellent, atmospheric sci fi classic that holds its own against more elaborate sci-fi shockers. If it seems a little cliched at times, this is only because it spawned so many imitations. In its own right the movie is a 50's monster masterpiece and a groundbreaking, original piece of popular cinema. 

One Must Fall (2018)

One Must Fall (Dir: Antonio Pantoja, 2018). 

A low budget, independent horror-comedy, the feature length debut of writer/director Antonio Pantoja. 

Unfairly dismissed from an office job by her creepy boss, single parent Sarah (Julie Streble) is forced to take a position as part of crime scene clean-up crew. When called to the site of a murder in abandoned warehouse, Sarah initially has concerns that the killer is still on the premises. Her fears are confirmed when, one by one, her colleagues start disappearing...

I am not a massive fan of horror and always feel a little out of my depth when I have to write about it. I love a creepy atmosphere in a horror movie but I don’t do so well with gore! One Must Fall is quite gory but it is also very funny. For me, the funnies did go some way to offsetting the grizzlies, although there was the odd moment when I felt compelled to look away from the screen; notably during a clean-up sequence and in the excessively bloody and highly improbable but amusing conclusion. 

Set in the 1980s, this is something that the visuals are not always entirely successful at conveying. The era is reinforced by pop culture references such as vintage Pepsi cans, Walkmans and nods to Janet Jackson and ET. There is also a cheeky anachronistic reference to the Duffer Brothers blockbuster 1980s period Netflix series Stranger Things (2016 - present). Adding authenticity is a neat electronic soundtrack, which recalls John Carpenter's music for his iconic slasher movie Halloween (John Carpenter, 1978).

Director Antonio Pantoja is not afraid to indulge in horror clichés, sometimes ironically, but always effectively. In this he has crafted a loving tribute to the genre's legacy. It lacks the polish of a larger production, but this is no bad thing; the lack of studio sheen lends it an air of 80s slasher movie authenticity. The cast, all of whom were unfamiliar to me, make a game task at juggling the more horrific scenes with some moments of goofy humour. Julie Streble, in particular, is both sympathetic and believable as the kick-butt heroine. 

With credible effects work and some genuine moments of tension One Must Fall should please ardent slasher aficionados. Those of a sensitive nature (like me!) might have second thoughts about watching. Ultimately, the black comedy aspect took the edge off of some of the nastiness and in the moments I wasn't averting my eyes from the screen, I was definitely entertained. 

I was lucky enough to catch a screening of One Must Fall at Southend-on-Sea's Horror-on-Sea Festival 2020. It doesn't appear, as yet, to be widely available. If comedy-horror-slasher movies are your thing this is worth keeping an eye out for!  

As Young as You Feel (1951)

As Young as You Feel (Dir: Harmon Jones, 1951). 

A lightweight comedy from 20th Century Fox which provided an early role for Marilyn Monroe. 

Aged 65 and facing forced retirement, John Hodges (Monty Woolley) blackens his greying hair and beard to pass himself as the younger Harold Cleveland, president of the parent company where the former printer worked. Aiming to overturn the company's ageist policy he successfully fools the boss Louis McKinley (Albert Dekker) who unexpectedly arranges for Hodges to address the local chamber of commerce. His rousing speech attracts the attention of  both the press and the real Cleveland (Minor Watson).

There is something Capra-esq about this tale of an underdog fighting against the system; there are also elements of the screwball comedy in its themes of role reversal and its saturising of big business. Somewhat surprisingly this was based on a story by Paddy Chayefsky. Those familiar with the writer's more acerbic screenplays for The Hospital (Arthur Hiller, 1971) and Network (Sidney Lumet, 1976) will find this satire of a far gentler persuasion. The directorial debut by former editor Harmon Jones, his work here is proficient but unexceptional. Much like the movie itself. Indeed, were it not for an early appearance by Marilyn Monroe, I feel the film would be little remembered today.

A standout in a small yet noticeable role as McKinley's secretary, Monroe was a mere two years away from her stardom cementing appearance in Gentlemen Prefer Blondes (Howard Hawks, 1953). Although playing to blonde bombshell type, she displays her considerable comic talents which would become more apparent as the decade progressed. Monty Woolley was always good value for money. Although he isn’t as well served here as in The Man Who Came to Dinner (William Keighley, 1942), his performance as the disgruntled Hodges is still a lot of fun. 

Although it provides a few big laughs, As Young as You Feel is never quite as funny as it threatens to be. At only 75 minutes, it feels distinctly like a support feature, albeit one with a quality cast. That said, it is a pleasant enough viewing experience and is worth watching for its fine comic performances courtesy of the bluff Monty Woolley and the radiant young Marilyn. 

Dr Goldfoot and the Bikini Machine (1965)

Dr Goldfoot and the Bikini Machine (Dir: Norman Taurog, 1965). 

Released in the UK under the slightly less cumbersome title Dr G and the Bikini Machine, this is a kooky 1960s teen-comedy-cum-spy-spoof from Hollywood’s greatest purveyors of exploitation, American International Pictures (AIP). 

The titular Dr Goldfoot (Vincent Price) has invented a machine for turning out lethal bikini clad robots with which he plans to ensnare the world's wealthiest men, acquire their assets and bump them off, eventually seeking world domination. Stumbling upon the plan are bumbling undercover agent Craig Gamble (Frankie Avalon) and playboy Todd Armstrong (Dwayne Hickman), both unwittingly smitten with humanoid Diane (Susan Hart). The pair face some Edgar Allen Poe worthy tortures as they attempt to infiltrate Goldfoot's lair and bust up his operation.

Any movie that opens with a stop motion animation sequence and a title song by the wonderful Diana Ross and the Supremes is already a winner in my view. The fact that I also have a soft spot for 1960s teen exploitation movies makes me predisposed to like Dr Goldfoot and the Bikini Machine. While not an official entry in AIP's Beach Party series, the movie is something of an offshoot of, or cousin to, the beach movies; taking its cues from both the beach and Bond. Beach Party regulars Annette Funicello and Harvey Lembeck’s Eric Von Zipper can both seen briefly as Goldfoot’s captives in his torture chamber. 

In a non-singing role the talented Frankie Avalon gives the impression of being a much better actor than Hollywood allowed. As his partner in crime-busting Dwayne Hickman, while lacking Frankie’s charisma, makes for a perfectly amiable leading man. The magnificent Vincent Price, meanwhile, happily leaves subtlety in his dressing room and hams it up a treat as the infamous Dr G. 

It’s all very silly and the humour is very broad and incredibly juvenile. Yet, despite what its title may suggest, it all pretty innocent stuff. No movie entitled Dr Goldfoot and the Bikini Machine was ever going to be a plea for feminism but neither is it as rampant with outdated sexism as you might expect. Incredibly, director Norman Taurog is the man who directed Spencer Tracy to Oscar glory in Boys Town (1938)! While this endeavour would not win any awards, Taurog keeps things moving at a rapid pace, with enough whimsical humour and general good vibes as to make it entertaining eye candy, if little else. It also benefits from some nice location footage of San Francisco, albeit mostly achieved through back projection. A high speed chase through the city's Bay Area aboard cars, motorcycles, cable cars and boats is a fun counterpoint to the more famous cinematic San Fransisco car chase of Bullitt (Peter Yates, 1968). All in all it is surprisingly polished for drive-in double feature fodder. 

Legend has it Dr Goldfoot and the Bikini Machine was the first AIP production with a budget upwards of $1 million. Was it worth the money? Clearly AIP though so, as the movie was deemed successful enough to warrant a sequel: Dr Goldfoot and the Girl Bombs (Mario Bava, 1966). The movie is no classic, even by AIP standards. Yet, at time when increasing civil unrest and the Vietnam War were encroaching on teenagers real lives, it is easy to see why escapist fluff such as this was popular. It is a fun time capsule of a more innocent era - at least in teen movies. Fans of beach movies, Bond and 1960s kitsch should find much to enjoy. 

Bush Christmas (1947)

Bush Christmas (Dir: Ralph Smart, 1947).

Set in the small valley community of Mara Mara, Bush Christmas follows the adventures of five children: brothers John (Morris Unicomb) and Snow (Nicky Yardley), their big sister Helen (Helen Grieve), English evacuee Michael (Michael Yardley) and friend Nesa (Nesa Saunders). After some horses are stolen from their ranch home, the kids decide to take the law into their own hands and set out into the Australian bush in order to track down the thieves and rescue the precious animals.

As the opening credits inform us, Bush Christmas was "made for cinema clubs for boys and girls" and was one of the first feature films from Rank Organisation's Children's Entertainment Film unit; a department which would eventually evolve into the Children's Film Foundation (CFF).

Bush Christmas has much higher production values than one would usually associate with the Children's Film Foundation. Although low budget, it feels significantly more polished than the usual, appealingly amateur, CFF output. Director Ralph Smart keeps the action moving at a steady pace while cinematographer George Heath captures the locations beautifully. Filmed in the Blue Mountains of New South Wales, the location photography is a definite plus and lends an atmosphere unique in family movies of the era. In common with CFF productions is the movie's simple plotting and broad performances, making it is easy to follow for its intended young audiences.

Chips Rafferty, then Australia's biggest homegrown movie star, hams it up nicely as Long Bill, the leader of the horse thieves. John Fernside and Stan Tolhurst are his cohorts, alternating some broad comedy with the required menace, as they are outwitted every step of the way by the kids.

Performances from the youngsters, none of whom had significant acting careers as adults, are appealing and natural. Nesa, the only indigenous lad, is slightly stereotyped, perhaps to be expected considering the era in which the movie was made. However, I feel the stereotyping is more naive than negative; with his knowledge of bush crafts he is shown to be the most intelligent and resourceful of the gang.

Set during the Australian summer, Bush Christmas is not especially festive for western audiences and is suitable viewing all year round. It is a modest little movie, but an engaging one at that. Perhaps a mite dated, but with enough comedy and action as to make it a worthwhile watch, especially for those looking for an alternative to modern family fare.  

The Men of Sherwood Forest (1954)

The Men of Sherwood Forest (Dir: Val Guest, 1954). 

An early production from Hammer Films, The Men of Sherwood Forest is a low budget but spirited romp with Don Taylor as the legendary Robin Hood. 

Deviating somewhat from the usual retelling of the legend, the simple plot involves Robin and his Merrie Men attempting to thwart an ambush attack on Richard the Lionheart on his return from the Crusades.

More famous for their Horror movies, Hammer also did a nice line in swashbucklers; the studio produced four Robin Hood movies, of which this was the first. 

Although clearly working with a meagre budget, director Val Guest makes decent use of outdoor locales and the movie feels less studio bound than might be expected. It also benefits from being shot in colour and whilst the action is not as well staged as in a more lavish production, Guest generally elicits decent performances from his actors, not all of whom are perfectly cast.

In the leading role, Don Taylor makes for a slightly bland hero. There is nothing essentially  wrong with his performance and with an athletic build he certainly looks the part of Robin. However with an accent that is more Hollywood than Sherwood, Taylor lacks both the authenticity and charisma of earlier Robin Hoods such as Errol Flynn or Richard Todd. Likewise, Leonard Sachs is not ideally cast as The Sheriff of Nottingham, lacking both the authoritative air and any real sense of menace to make a truly memorable villain.

The best performances are to be found in the supporting cast. Maid Marian is inexplicably missing from The Men of Sherwood Forest; her replacement here is Lady Alys in a nice performance by Eileen Moore. A loyal ally to Robin, she holds her own with the best of the Merrie Men, but there is no romance between the two. Robin’s most significant relationship here is with Friar Tuck. As the wily man of the cloth cum con artist Reginald Beckwith gives a marvellous comic performance which is arguably the movie's highlight.  

There are slicker swashbucklers than this; The Adventures of Robin Hood (Michael Curtis, 1938) is still the definitive cinematic take on the legend and star Errol Flynn the definitive Robin. Yet, while The Men of Sherwood Forest is no masterpiece, as an example of the sort of boys own adventure that once filled matinees, it is invaluable. Cheap and cheerful maybe, but also engagingly innocent, old fashioned fun. 

Murder at the Gallop (1963)

Murder at the Gallop (Dir: George Pollock, 1963).

Following the success of Murder She Said (George Pollock, 1961) aging amateur detective Miss Marple returns to investigate the death of the elderly Mr Enderby, supposedly frightened to death by a cat. Eavesdropping at the reading of Enderby's will, where his estate is divided between four family members, Miss Marple's suspicions are confirmed when the deceased's sister Cora suggests that the old man was murdered. When Miss Marple visits Cora to question her, she finds the sister too has been murdered. Deciding to investigate further, Miss Marple books herself a holiday at The Gallop Hotel and Riding School, an establishment run by Enderby's nephew Hector and the other surviving heirs.

The second of MGM’s Miss Marple movies was the first not to be based upon a Miss Marple novel. Rather, Murder at the Gallop is based upon Agatha Christie’s 1953 novel 'After the Funeral', which featured her other most famous creation, Belgian detective Hercule Poirot. 

Poirot is nowhere to be found in this adaptation in which he is supplanted by Margaret Rutherford’s bluffly brilliant interpretation of Miss Marple. Rutherford's real life husband Stringer Davis returns as loyal companion Mr Stringer, as does Charles Tingwell as the weary Inspector Craddock. Standout among the supporting cast is Robert Morley; his excellent comic turn as Hector Enderby threatens to steal the movie from Ms Rutherford. The quality cast also features neat performances from acting legends Flora Robson and Finlay Currie.

As with Murder She Said, the movie paints a picture of a quaint post-War Britain that never really existed and must have seemed archaic to audiences in the so-called 'swinging' sixties. But I feel this is kind of the point. The movie is very tongue-in-cheek and never takes itself too seriously; gently mocking genteel middle England, while at the same time romanticising it.

Again, this maybe not be an adaptation for Christie purists, but like the previous movie it is a lot of fun. There are some genuine moments of suspense amongst the jollity and Miss Marple even does the twist. What's not to love?

Murder She Said (1961)

Murder She Said (Dir: George Pollock, 1961).

The first in a series of four MGM-British murder mysteries staring the incomparable Margaret Rutherford as Agatha Christie’s amateur sleuth Miss Marple. 

Adapted from Christie's 1957 novel '4:50 from Paddington', Murder She Said sees Miss Marple witness a murder on a passing train. When the police won't listen to her, she takes matters into her own hands. Surmising that the body must have been deposited at the nearby Ackenthorpe Hall, she poses as a maid and finds employment at the stately home. Here she is perfectly placed to investigate the family and staff who would all appear to have motive for murder. Meanwhile the killer racks up a few more bodies.

This has to rank as among the most lighthearted Agatha Christie adaptations, taking a far more comedic approach than usual. Somewhat surprisingly Murder She Said is the only movie in MGM’s series that was actually based upon a Miss Marple novel; later movies either shoehorned the character into another Christie novel or were original works.

Christie was reportedly unhappy with the casting of Margaret Rutherford. In fairness her Miss Marple is nothing like the one in the novels, but she attacks the part with such gusto and good humour that it is hard not to love her in the role. An invention of the movie is Miss Marple’s loyal companion and romantic interest Mr Stringer, played by her real life husband Stringer Davis. This relationship is a nice addition to the story which also serves the practical purpose of allowing Miss Marple to convey some necessary exposition to the audience. 

Excellent support is offered, especially from James Robertson Justice as the bedridden family patriarch and keep an eye out for future Miss Marple Joan Hickson further down the cast.

In its depiction of a quaintly dated post-War Britain, Murder She Said seems both of its time and oddly timeless. Christie purists may carp that too many liberties are taken with the original text and no one would suggest that this is a definitive telling. But to criticise it as such would be kind of missing the point. Murder She Said is enormously entertaining with superb performances from some British acting legends. It is all very silly, but also very funny and with some genuine moments of suspense. An excellent, infectious score by Ron Goodwin adds to the fun.

Frozen II (2019)

Frozen II (Dir: Chris Buck & Jennifer Lee, 2019).

Walt Disney Animation Studios sequel to their original blockbuster Frozen (Chris Buck & Jennifer Lee, 2013).

The events of Frozen II take place roughly three years after those of Frozen. However, the movie takes us further back into Elsa and Anna's past as, through flashbacks, we see the girls' father King Agnarr of Arendelle relating the tale of their grandfather's attempt to form a treaty with a neighbouring tribe in their Enchanted Forest homeland. An ensuing battle results in grandfather's death and discord among the Forest's spirits. Years later Elsa is drawn to the forest by a mysterious voice and becomes embroiled in the ongoing conflict which is threatening the well being of both the Enchanted Forest and Queen Elsa's kingdom of Arendelle

While Frozen II bears the legend "Inspired by Hans Christian Andersen's The Snow Queen, it is nothing like the original fairytale. Neither is it particularly like the original movie, incorporating more references to Nordic myth and legend than the original Frozen.

Reuniting much of the core creative team from the first movie, co-writers and directors Chris Buck and Jennifer Lee have created a movie which never feels like a quick buck cash-in. The animation is stunning, even more so than in the original. Its forest setting and warm autumnal colour palette gives it a distinctly different feel to the cooler blues and whites of  Frozen's icescapes.

The theme of sisterly bonding is still present in what is much more of a two-hander between Elsa and Anna. Olaf, Kristoff and reindeer Sven are present but are largely relegated to co-stars here, with less impact on the movie's outcome. Olaf still has most of the movie's big laughs, however, a highlight being when he recounts the events of the first movie to the confused forest dwellers. 

Returning from the first Frozen is its stellar voice cast; Idina Menzel as Elsa, Kristen Bell as Anna, Jonathan Groff as Kristoff and Josh Gad as Olaf bring warmth to their characters and handle both dialogue and singing with considerable skill. The songs, once again written by Robert Lopez and Kristen Anderson-Lopez, are not as instantly hummable as before, although the 70's power pop influence is hard not to warm to. 

In its attempt to differentiate itself from the first movie, Frozen II does seem to suffer from an overly complex narrative. In this respect the movie falls into the same trap as Disney's other recent sequel Ralph Breaks the Internet (Phil Johnston & Rich Moore, 2018). As with Ralph, there is so much going on in Frozen II that one misses the more economic and ultimately more satisfying simplicity of the original, although Buck and Lee are to be commended for not being content to just churn out the same movie.

Frozen II has proved to be another mega-hit for Disney and already ranks among the all time top earners. Of course, it would never quite have the same cultural impact as Frozen, but so few films have. While the story may be a little over complicated for its own good, it is still a highly impressive, enjoyable movie, much better than audiences may have been expected and continues Walt Disney Animation Studios’ excellent run of features throughout the 2010s.

The Christmas Coal Mine Miracle (1977)

The Christmas Coal Mine Miracle (Dir: Jud Taylor, 1977).

A festive family drama made for US TV.

Set in the mining town of Caufield in 1951, The Christmas Coal Mine Miracle tells the story of coal miners trapped underground on Christmas Eve following an explosion. Centered largely around Matthew Sullivan (Mitchell Ryan), his wife Rachel (Barbara Babcock), their two daughters and prospective son-in-law Johnny (Kurt Russell).

Although claimed by some sources to be based upon a true story, the closing credits read: “The events depicted in this motion picture are fictitious although suggested by the history of mine disasters”. Which particular mine disasters are unclear. I think the movie would have more impact were it based on actual events. Instead what we have with The Christmas Coal Mine Miracle is an intriguing story, although not particularly dynamically told. 

Surprisingly, considering it was made in the era when disaster movies were vogue, the focus of the film is not the explosion in the mine, but the relationships of those affected by it, particularly the women. As a result the movie suffers from being overly reliant on dialogue and a little short on action. Originally broadcast on the NBC network, it has the distinct feel of a Movie of the Week, albeit distinguished by a better than average cast. Top billing is afforded to Mitchell Ryan, but further down the cast are the more familiar names of Kurt Russell, John Carradine and Melissa Gilbert. 

Gilbert, then also appearing as Laura in long running drama Little House on the Prairie (1974-83), receives a "special guest appearance" credit. As the movie’s then most viable star it seems an attempt was made, possibly late in production, to hinge the story on her character. As youngest daughter Kelly, Gilbert narrates the story’s opening, but this has the effect of wrong footing the audience as the rest of the film is not exclusively told from her perspective. Still, she is a cute kid and her appealing performance is probably the movie’s highlight. 

As earnest young man Johnny, Kurt Russell is, well, earnest. In fairness to Russell the role is not especially well fleshed out and seems small potatoes compared to his next project - his Emmy Award nominated performance as Elvis Presley in acclaimed TV movie Elvis (John Carpenter, 1979). Which is kind of an issue with every character; none are particularly well delineated and the audience never gets to know any of them well enough to be as affected by their plight as they should.
  

The Christmas Coal Mine Miracle is no Christmas classic. Were it a true story in the traditional sense, rather than vaguely inspired by historic mining accidents, I feel as if I would have warmed to the story a little more and have more investment in the characters. That said, if you stumble across this movie on daytime TV it is worth a look for the decent performances from its likeable cast. 

The Christmas Tree (1966)

The Christmas Tree (Dir: James Clark, 1966)

Cheap and cheerful Christmas movie from the Children’s Film Foundation. 

Cocky kid Gary (William Burleigh) boasts to friends in a hospital ward that he can secure them a Christmas tree by 6PM on Christmas Eve. Determined to make good his claim, he and his younger siblings Jane (Kate Nicholls) and Sam (Anthony Honour) trek the 30 miles to London’s St Vincent hospital, stolen tree in tow, ill advisedly accepting lifts from strangers and finding themselves in evermore ridiculous situations as the movie progresses. 

Like all CFF productions The Christmas Tree has a certain slapdash appeal. None of the cast seem particularly professional, with the exception of Brian Blessed, the Z Cars actor on familiar ground in a minor role as a police constable. 

Its amateurish charm is actually probably the The Christmas Tree’s greatest asset. What submarines the film is its ludicrous plot involving cantankerous bus conductors, armed robbers and a circus troop. The three waifs, who must rank among the dopiest kids in history, somehow manage to evade parents, police and avoid being shot at by the army as they wander onto a military rifle range. 

It is difficult to think of a movie with less of a grasp on reality. I am sure it entertained young audiences hyped up on sweets and sugary pop at the Saturday Morning Pictures in the 1960s, but viewed today it is quaint and corny and less than thrilling. 

I can’t honestly say I would recommend The Christmas Tree to anyone other than those with an interest in British cinema. Clocking in at just over one hour, it is short enough to watch out of curiosity. It may hold nostalgia value for those who saw it as a child but I can’t see it appealing to kids raised on Star Wars and The Avengers. 

The Parent Trap (1961)

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. That this was only writer/director David Swift’s second feature film is astonishing, such is the level of expertise in his handling of the script and of the expert performances he elicits from a first rate cast. 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. She is backed by a top quality supporting cast which includes acting legends Charles Ruggles and Una Merkel. Joanna Barnes, previously seen in Spartacus (Stanley Kubrick, 1960), is so good in her role of vixen Vicky that it is surprising she did not become a much bigger star. 

The Parent Trap also looks fabulous. 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. It is all beautifully photographed by cinematographer Lucien Ballads and its 1960s fashions and Mid Century Modern interiors contribute to make this one of the best looking and most stylish movies in the Disney catalogue. 

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. The movie is so affectionate, so funny and so expertly performed that I cannot offer any genuine criticisms of it. Perhaps, at 2 hours plus, it is a little on the lengthy side; an extended camp-out is merely stalling time before we reach the, by now, inevitable conclusion. But honestly, it is all so funny that it never once feels as if it has overstayed its welcome. The whole thing is topped off with a handful of songs from the legendary Richard and Robert Sherman, including the hit single ‘Let’s Get Together’. 

As unabashed as my love for The Parent Trap is, I genuinely cannot think of a more perfect movie. It is, for me, the best of the Disney comedies and one of the studio’s greatest achievements in live action movies, rivalled only by 20,000 Leagues Under the Sea (Richard Fleischer, 1954) and the mighty Mary Poppins (Robert Stevenson, 1964). 

A belated sequel The Parent Trap 2 (Ron Maxwell, 1986), made its television debut over two decades later and an updated remake, also titled The Parent Trap (Nancy Meyers, 1998) was a hit with audiences a decade after that. A reboot for the Disney+ streaming service is also mooted. Yet, as is often the case, the original is the best. 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! 

Star Wars: The Rise of Skywalker (2019)

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, but here’s a little recap, just for fun! 

The first of George Lucas’ sci-fi/fantasy epics, released in 1977, borrowed liberally from classic Hollywood movies to became a cross generational blockbuster; something that seemed simultaneously bang up to date and appealingly old fashioned. Spawning sequel, prequels, spin-offs, theme park attractions, novels, comics and, of course, toys, Star Wars became a multimedia phenomenon, the like of which has not been equalled before or since. This latest movie The Rise of Skywalker is the final instalment of the nine movie strong (not including spin-offs) saga. 

I am not too hot at writing synopses at the best of times and also don’t want to give anything away, so I will make this as brief and spoiler free as possible: 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. Which is kind of it, although a lot more happens besides! 

Who would have guessed the final Star Wars movie would prove so divisive? Fandom can be a funny thing. As a Stars Wars fan I fall somewhere in between casual and obsessive. My favourite is the original Star Wars (George Lucas, 1977), later clunkily subtitled Episode IV: A New Hope. I enjoyed both The Force Awakens and The Last Jedi, I would happily sit through the prequels if I had nothing better to do and I think the Ewoks movies have a goofy charm. I genuinely enjoy immersing myself in the Star Wars universe and am happy to report that I enjoyed this final instalment of the saga that began 42 years earlier. 

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. It is an adventure movie that just wants to be loved and, while it does not quite rank with the best of the series, I did indeed love it! 

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. 

Scenes with Princess Leia Organa seem a little shoehorned in, perhaps inevitably, due to Carrie Fisher’s sad passing shortly after the release of The Last Jedi. Utilising outtakes from the previous movies, her one or two lines of dialogue here and there seem a little stilted. That said, I think her inclusion was justified and it provides a fitting tribute to the actress and the character than fans would otherwise have been denied. 

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. Oh yeah, it’s still much better than any of those prequels.