Hell Bent for Leather (1960)

Hell Bent for Leather (Dir: George Sherman, 1960).

The Audie Murphy western wagon trundled on with Hell Bent For Leather. Yet, on this occasion the end product is a mite gritter than one would usually expect from a Murphy movie. 

Wandering into homestead Sutterville after having his horse stolen, cattle man Clay Santell (Murphy) is mistaken by the townsfolk for a murderer known as Travers (Jan Merlin). He is pursued by a corrupt Marshall (Stephen McNally) who knows of his innocence but wants the glory of caching 'the killer'. Santell goes on the lam, taking with him hostage Janet Gifford (Felicia Farr), herself a town outcast due to the actions of her late father.  

A psychological western with just a hint of film noir, Hell Bent for Leather might be better considered a 'wrong man' thriller in western apparel than an actual western. Those familiar with post-War noir thrillers will recognise the set-up from countless other movies. Yet, while the premise may not be original, it is executed here with skill. 

Director George Sherman and writer Christopher Knopf deliver a tight suspense with genuine intrigue and enough twists to keep the audience guessing until the final reel. Shot in Eastman Color and Cinemascope, the movie looks terrific! The rugged Alabama Mountains, California locations are beautifully captured  by cinematographer Clifford Stine and provide a unusual backdrop for this moodily atmospheric piece.  

Murphy gives arguably his best performance as the wrongly accused man, as does model turned actress Felicia Farr. As the hostage whose feeling towards her kidnapper turn from antipathy to sympathy, Farr demonstrates how talented a performer she was. Sadly underappreciated by Hollywood, in retrospect Hell Bent for Leather should have consolidated her a status as a leading lady; instead she worked almost exclusively in television in coming years. Stand out in the supporting cast is Stephen McNally; his wildly charismatic turn as bad'un Marshall Deckett is the embodiment of crazed malevolence! Shot by Stine with an array of off-kilter camera angles, it is a delicious helping of the best kind of ham!

My expectations were low for what i expected would be a run-of-the mill B-western. How wrong I was! A short movie, a little over 80 minutes, it was almost certainly destined to play as a double feature. Yet Hell Bent for Leather stands on its own as an exciting fast-moving western/thriller and probably Murphy’s best movie. 

Kansas Raiders (1950)

Kansas Raiders (Dir: Ray Enright, 1950).

A lively western adventure, set against the backdrop of the American Civil War. 

This star vehicle for Universal contract player Audie Murphy, is a highly fictionalised account of the early career of the outlaw Jesse James. Here such historical figures as young Jesse (Audie Murphy) and his brother Frank (Richard Long) team up with Kit Dalton (Tony Curtis) and the Younger brothers under the tutelage of Confederate guerrilla Colonel William Quantrill (Brian Donlevy), in a kinda outlaw equivalent of Avenger Assemble (Josh Whedon, 2012).

Murphy seems much more at ease here than in some of his early pictures and gives a convincing performance at the young Jesse. He is ably supported by co-stars Brian Donlevy and a pre-stardom Tony Curtis. All credit goes to the cast for give better performances than this otherwise underwhelming movie deserves.   

With its fair share of shoot-ups and some surprisingly violent raids, Kansas Raiders is not lacking in action, yet little in the movie rings true. It certainly isn’t awful but, ultimately, there are too many plot holes and conveniences in the narrative for it to be entirely believable.  Another problem from an audience perspective is the difficulty in sympathising with a protagonist who is a villain. Even when he appears to have a crisis of conscious, history, or rather legend, tells us it will only be temporary and he will go on to become a notorious outlaw. The movie also suffers from an uneven tone, at times treating its subject with more levity than it does good taste. An overall more gritty approach would certainly have suited the story better. On the positive side, the somewhat backlot bound production is enlivened by some gorgeous Technicolor.

Oddly reminiscent of the juvenile delinquent flicks of the mid-1950s,  Kansas Raiders could be seen as western precursor of those. As such, it was probably enjoyed most by younger patrons of matinees. 70 years later, it doesn’t really cut it as history lesson or action movie. It is worth a watch for Audie Murphy’s performance but, outside of Murphy fans and vintage western aficionados, its appeal is limited.

Hello Down There (1969)

Hello Down There (Dir: Jack Arnold, 1969). 

Frank Miller (Tony Randall) and his family must spend 30 days in a prototype house located 90 feet below the surface of the ocean, or Frank loses his job. In tow are his daughter's fiance and brother who along with the Miller kids make up the bubblegum pop quartet Harold and the Hang-Ups.

As a boy I was always intrigued with the idea of living underwater. Science fiction movies such as 20,000 Leagues Under the Sea (Richard Fleischer, 1954) and City Beneath the Sea (Irwin Allen, 1971) were firm favourites. While there are sci-fi elements to the concept of a family living in an experimental undersea home, they go sadly unexplored. Instead the movie’s focus is on cosy domesticity and generation-gap gags. This gives the movie the air of a 1960s US TV sitcom, unsurprising perhaps, as director Jack Arnold was responsible for multiple episodes of Gilligan's Island (1964-1967) and The Brady Bunch (1969-1974). More surprising is that Arnold was also the man who gave the world the sci-fi masterpieces It Came from Outer Space (J. Arnold, 1953) and The Incredible Shrinking Man (J. Arnold, 1957). Little of the ingenuity and originally of those classics is evident here. 

Even the efforts of a very talented cast amount to little in a comedy where more jokes miss than hit. The subtle comic talents of Tony Randall are wasted in this broadest of comedies. As the water phobic Mrs Miller, little is asked of Janet Leigh other than to accidentally fall into the ocean and scream a lot. Accomplished comedy players Jim Backus, Ken Berry and Roddy McDowall offer solid support but the material is just not up to standard. The movie provides an early role for Richard Dreyfuss as Harold, the lead singer and guitarist with the Hang-Ups. To his credit, he makes the best with what he has to work with, but this is really lacklustre stuff. Hang in there Richard, American Graffiti is only four years away...

As you would expect from Flipper creator Ivan Tors, the are plenty of antics with friendly dolphins and a pet sea lion. For thrills there is a shark attack and potentially deadly hurricane. However, the audience never feels the family are in real danger, such is the movie's lightweight tone.

Until about a week ago I was blissfully unaware of the existence of Hello Down There. It seems largely forgotten now and probably with good reason, in spite of the presence an A list cast and a talented director. The movie does, admittedly, have a fun concept, but unfortunately nobody involved in production bothered to make it funny.

I would hesitate to say I didn’t enjoy Hello Down There. While it is not especially good, it is odd enough to be oddly entertaining! Possibly I am being over critical of something meant as lighthearted entertainment. But considering the talent involved it is hard to view it as anything but a disappointment. 

Sierra (1950)

Sierra (Dir: Anthony E Green, 1950).

A Technicolor western drama from Universal. Based upon Stuart Hardy's 1937 novel The Mountains Are My Kingdom and previously filmed as Forbidden Valley (Wyndham Gittens, 1938). 

Ring Hassard (Audie Murphy) and his father Jeff (Dean Jagger) have been holed up in the mountains for 15 years after Jeff was wrongly accused of murder. With the aid of lawyer Riley Martin (Wanda Hendrix) they attempt to clear his name, but most townsfolk would rather see Ring and Jeff hanged.

Achieving national hero status as the most decorated US soldier in World War II, Audie Murphy was still fairly new to movies. In this, his 5th screen appearance he receives second billing to then real-life Mrs Murphy, Wanda Hendrix. The pair are fine in the leads, although there is, perhaps, a surprising lack of chemistry between the two. Tellingly, the couple's short lived marriage was over by the time the movie was released. Bedridden for much of the movie, talented character actor Dean Jagger has little to do, yet is effective in his role as the falsely accused man. The standout performance is that of singer turned actor Burl Ives as amiable hermit Lonesome. Lending his beautiful voice to a handful of folk ballads, it is a solid performance from Ives and an early indication of his tremendous talent, later given full rein in star character roles such as The Big Country (William Wyler, 1958) and Cat on a Hot Tin Roof (Richard Brooks, 1958). Sierra also offered early roles for future stars Tony (here billed as Anthony) Curtis and James (billed as Jim) Arness. 

It is a fairly modest movie and a little lacking in elaborate action set-pieces, yet, at less than 90 minutes, the pace rarely flags. What distinguishes the movie most is Russell Metty's vivid colour cinematography. This, along with its rugged Utah locations help give the movie a larger scope than was afforded the average studio oater. 

Sierra is not quite a classic of the western genre but is a decent movie nonetheless. Lightweight, enjoyable matinee fodder, enlivened by Metty's striking Technicolor photography and the mellifluous vocal talent of Mr Burl Ives.

The Boy Who Talked to Badgers (1975)

The Boy Who Talked to Badgers (Dir: Gary Nelson, 1975).

A family drama first aired in two parts on NBC’s The Wonderful World of Disney television series. Difficult to obtain for many years it is now available to watch on the Disney+ streaming service.

Based on Allan W. Eckert’s 1971 novel Incident at Hawk's Hill, The Boy Who Talked to Badgers tells the story of  young farm boy Benjy MacDonald (Christian Jutter). Preferring the company of animals to humans Ben largely disconnects with others, notably his stern father Will (Carl Betz). When out playing in a nearby creek, Ben falls in and is carried downstream. Believing him drowned, his guilt-ridden father organises an extensive search of the surrounding area. Ben, meanwhile is aided by a badger who befriends him and keeps him supplied in raw fish while the boy's injured ankle heals. 

This kind of folksy frontier drama was standard fare for The Wonderful World of Disney, however what passed for family entertainment in 1975 will seem incredibly twee to kids today. Yet, it is not without merit, particularly in its depiction of a child who has difficulty connecting with others. Outsider Ben would probably be diagnosed with Autism today. While the movie draws no such conclusion, his social awkwardness is sensitively handled. Christian Juttner is sympathetic in the lead, but the standout performance come courtesy of Salome Jens, highly effective in her role as Ben’s anguished mother. 

Shot entirely on location in Alberta, Canada the movie features some stunning scenery. Gary Nelson would later direct Disney's big budget space yarn The Black Hole (G. Nelson, 1979) but is at home here with a more Earthly kind of 'space'. The wide-open plains and brilliant blue skies of Alberta look fabulous. Nelson imbues the film with a fresh air, outdoorsy atmosphere and an expansive scope unusual in a TV movie.

I lapped up these Disney animal dramas as a kid and although I cannot recall having previously seen The Boy Who Talked To Badgers, it has a cosy kind of familiarity which resonates with my inner 8 year old. It’s a lot of nonsense really, but is sweetly sentimental, tempered with a surprisingly sober finale. If, like me, you loved The Wonderful World of Disney as a child, you will almost certainly find yourself drawn in by the movie's innocent charm.

The Lion King 1 1/2 aka The Lion King 3: Hakuna Matata (2004)

The Lion King 1 1/2 aka The Lion King 3: Hakuna Matata (Dir: Bradley Raymond, 2004).

The third and final feature in Disney’s original Lion King trilogy; burdened with the clunky and less witty title The Lion King 3: Hakuna Matata internationally. 

Just as Tom Stoppard’s 1966 play Rosencrantz and Guidenstern Are Dead retold William Shakespeare’s Hamlet from the perspective of the comic supporting characters, so too The Lion King 1 1/2 relates the Hamlet inspired The Lion King (Roger Allers & Rob Minkoff, 1994) from the point of view of co-stars Timon and Pumbaa. A neat framing device of Timon and Pumbaa watching and commenting on the original movie introduces the fairly novel conceit and also provides us with their hitherto untold backstories.

Amazingly, this device works beautifully. Director Bradley Raymond interweaves scenes from the original movie with those of his own almost seamlessly. To achieve this, the standard of animation is of a markedly higher quality than one has come to expect from previous, modestly budgeted DisneyToon Studio sequels to Walt Disney Animation Studios features.  Nathan Lane and Ernie Sabella return as the voices of Timon and Pumbaa, respectively, as do most of the original cast. Original composers Tim Rice and Elton John also return with the new tune Meerkat Rhapsody. Tom Rogers screenplay is witty and fast-paced, with the story not seeming as over-familiar as it might. Overall, its concept is excellently executed and does not feel overly gimmicky.

Not particularly a fan of the Disney brand of straight-to-video sequels, The Lion King 1 1/2 came as a pleasant surprise. It is a vast improvement on the good-looking but dull Lion King II: Simba's Pride (Darrell Rooney) and is one of the few Disney sequels which does not does not disgrace the original. While much of DisneyToon Studios' product is aimed squarely at the youngest of audience members, Lion King fans of all ages should enjoy this movie. I would definitely recommend watching the original The Lion King first, but this follow-up holds its own against that movie. While The Lion King 1 1/2 is not as essential as its classic forebearer, it is a lot of fun; a clever and good looking addition to the previously tired franchise and easily the best of Disney's much maligned series of sequels.  

Mutiny on the Bounty (1935)

Mutiny on the Bounty (Dir: Frank Lloyd, 1935).

A lavish Metro-Goldwyn-Mayer adaptation of the bestselling historic novel by Charles Nordhoff and James Norman Hall. 

Mutiny on the Bounty recounts the now famous events of the 1789 mutiny when, on a mission to Tahiti to collect breadfruit, the crew of the HMS Bounty, lead by First Officer Fletcher Christian (Clark Gable) revolt against the tyrannical Captain William Bligh (Charles Laughton). Putting him to sea in a rowboat, the crew pilot the ship to the lush paradise of the Pitcairn Islands. 

Clark Gable was, at the time, the biggest male star in Hollywood and it is easy to see why. Shorn of his trademark mustache, he gives a wonderfully charismatic performance as Fletcher, exuding masculinity and sensitivity. A markedly different, but equally successful approach is adopted by Charles Laughton in his intense depiction of Captain Bligh as a despotic psychopath, berating and punishing his crew for minor or unproven indiscretions. His display of arrogance and pompousness create a genuinely loathsome character. Bligh would rightly become a signature role for Laughton and remains arguably the best interpretation of the role. Franchot Tone also impresses as Midshipman Byam, torn between his loyalty to the Navy and his friendship with Fletcher.

Central to an exceptionally well crafted production, the Bounty itself is magnificent and thanks to extensive location shooting in Tahiti, the movie rarely feels studio bound. Occasional use of back-projection is evident, but for the most part the special effects hold up excellently. There is genuine excitement generated by the various storms and rough seas and in the thrillingly staged mutiny. The movie does not hold back in its depiction of the cruelties administered by Bligh upon his crew; creating a glaring contrast between shipboard life and island paradise. Director Frank Lloyd's movie is more character driven than most modern action films, yet the pace never wavers in its dramatic portrayal of the real life conflict. 

With its mix of action and romance, Mutiny on the Bounty is in many respects the archetypal Hollywood blockbuster.  A massive hit for MGM, the studio revisited the tale almost three decades later. This epic, three hour adaptation of Mutiny on the Bounty (Lewis Milestone, 1962) would not repeat the financial success of the original, although it is an impressive and enjoyable production.  

While this Bounty cannot compete with the Super Panavison 70mm Technicolor 1962 version for sheer spectacle, it is ultimately the better movie thanks to superb performances from it legendary cast. A rousing, old-fashioned adventure, Mutiny on the Bounty is a classic from the golden age of Hollywood.  

Stitch! The Movie (2003)

Stitch! The Movie (Dir: Toby Craig & Bobs Ganaway, 2003).

 

The first of three follow-ups to Walt Disney Animation Studios' hit movie Lilo & Stitch (Dean DeBlois & Chris Sanders, 2002).

This DisneyToon Studios production finds alien experiment Stitch (aka Experiment 626), along with his creator Jumba and sidekick Pleakley, adjusting to life on the Hawaian island of Kauai. Living in the home of Lilo and sister Nani, things are peaceful enough until the discovery that Jumba has smuggled previous genetic experiments 1 to 626 to Earth. Returning from the first movie, bad guy Gantu, is hired by evil alien scientist Dr Hamsterviel to retrieve the experiments, which Jumba created with Hamsterviel's financial assistance. Coming to the rescue, Lilo and Stitch hatch a plan to collect Stitch's new-found cousins and distribute them throughout the island.

Somewhat confusingly, this 2nd feature film in the Lilo & Stitch franchise is the third film canonically, set after but released a year earlier than Lilo & Stitch 2: Stitch has a Glitch (Michael LaBash & Tony Leondis). If you have read my previous reviews of Disney straight to video sequels then you will know that I am not a fan. But for the Lilo & Stitch franchise I make an exception. While not as essential as the original, this is a decent movie in its own right. Upping the sci-fi quotient, it is concerned more with alien activity than Hawaiian island life and acts as a pilot for TV's Lilo & Stitch: The Series (2003-2006). 

It is kind of modest in its approach to animation and storytelling, but a low-key simplicity was central to the appeal of the first movie. The story is stronger than many sequels, being neither particularly derivative of the first, nor employing the over used role reversal theme common to Disney sequels. New addition to the cast Hamsterviel makes for an engaging villain and the plethora of experimental aliens are amusing, although none prove as endearing as experiment 626 himself. The stylistically cartoony approach of the original is better suited to TV's limited animation techniques than many Disney features and visually this is a notch or two above most lower budget efforts. While never reaching the emotional depths of the original movie, it does continue the 'ohana (or family) theme and the powerful message of acceptance. 

Lilo & Stitch endures as one of Disney’s best features of the 21st Century. Of course Stitch! The Movie is not as great a movie as the original, but neither does it do it a disservice. Far less of the quick buck cash-in I expected, this is a modest but warm-hearted treat and at 60 minutes long doesn't outstay its welcome. The youngest of Lilo and Stitch may enjoy it almost as much the original, while older kids and grownups won’t mind giving over an hour of their time to this unassuming, fun follow-up. 

The Lion King II: Simba's Pride (1998)

The Lion King II: Simba’s Pride (Dir: Darrell Rooney, 1998).

Walt Disney Pictures' The Lion King (Roger Allers & Rob Minkoff, 1994) would prove a massive hit for the studio. So much so that a sequel was inevitable. Whereas studio founder Walt Disney famously disliked sequels, the new studio regime had no such qualms. A straight-to-video follow-up was put into production almost immediately, eventually hitting Blockbuster shelves four years after the original. 

Much as the original movie was inspired by William Shakespeare's Hamlet, so The Lion King II takes its cue from the Bard; on this occasion Romeo and Juliet. Simba is now the over-protective father of cub Kiara, born at the end of the first film. When venturing into the forbidden Outlands, the curious cub encounters social outcast and heir to disgraced Uncle Scar's pride, Kovu. They strike a friendship which eventually turns to forbidden romance as Kovu's outcast family plan to use the pair to get to Simba and overthrow the king.

Before Disney hit upon the idea of remaking their animated classics in live-action (or photorealistic CGI) they had an industry churning out straight-to-video sequels. Beginning with Aladdin 2: The Return of Jafar (Toby Shelton, Tad Stones & Alan Zaslove, 1994) and finally being put to rest with The Little Mermaid 3: Ariel's Beginning (Peggy Holmes, 2008), the movies were produced by Walt Disney Television Animation (latterly DisneyToon Studios), rather than the more prestigious Walt Disney Animation Studios. While highly profitable, most of the movies were well below the standard of their theatrical counterparts and arguably had a direct influence on the dwindling profits experienced by the studio in the early 2000s. Once held as the standard bearer for quality family entertainment, the abundance of these low budget cash-ins meant many now regarded the studio's product as little more than a convenient babysitter for the youngest of kids. 

The Lion King II: Simba's Pride is by no means the worst Disney sequel. While not quite replicating the sheer visual spectacle of its predecessor it is surprisingly good looking production, considering its made for video origins. This suggests that Disney were not eager to cheapen the brand too much. However, points it gains for decent animation are lost for pedestrian storytelling. The role reversal plot, also utilised in The Little Mermaid II: Return to the Sea (Jim Kammerud, 2000) and Lady and the Tramp II: Scamp's Adventure (Darrell Rooney. 2000), offers little surprises. Many new characters are introduced at the expense of those familiar from the first movie. The newer are blandly generic while the older are rewritten beyond recognition. Worst affected is the king himself; in spite of the title, Simba is here relegated to supporting player in his own movie. This new, but not so improved Simba is a completely different lion. Parenthood has turned him into a worrying, overbearing bore, constantly berating Kiara and telling her what she can and can't do. It's no wonder she disobeys him. Not only does this make the once lovable character less sympathetic to audiences, it also adds to the muddy morals of the film, which seemingly endorses defying your parents and doing as you want with no regards on the effect it may have on others.  

 

With the exception of He Lives in You, the songs, by a variety of writers, are not a patch on the original movie's Tim Rice and Elton John compositions. One number entitled Upendi is a shameless attempt to recreate Hakuna Matata, while also borrowing visual elements of I Just Can't Wait to Be King. The other tunes are pleasant enough, but it is doubtful you will be humming them after watching the movie. 

In spite of its shortcomings, The Lion King II: Simba's Pride was a roaring success, becoming one of the biggest selling VHS titles in the history of the format. Predictably, a further sequel followed; The Lion King 1 1/2 (Bradley Raymond, 2004) offers a clever spin on the first movie and is in itself an original and appealing work. Unfortunately the same cannot be said of The Lion King 2. With an 80 minutes running time, it is not an especially long movie. But pedestrian storytelling, stock characters and forgettable songs means Simba's Pride will hold little interest for all but the youngest of Lion King fans. 

The Lion King (2019)

The Lion King (Dir: Jon Favreau, 2019).

Disney’s reboot binge continues with yet another high tech adaptation of an animated classic, this time renaissance era blockbuster The Lion King (Roger Allers & Rob Minkoff, 1994). 

As I am certain you are aware, The Lion King tells the story of young lion and future king Simba (voiced by Donald Glover). Simba's father Mufasa (a returning James Earl Jones) is killed by his brother and Simba's uncle Scar (Chiwetel Ejiofor). 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 (Billy Eichner) and warthog Pumbaa (Seth Rogen). When Simba's hideout is discovered by cub-hood pal Nala (Beyoncé) she tells him of his uncle's despotic machinations. The two lions, with Timon and Pumbaa in tow, return to fight Scar and reclaim the crown.

Walt Disney Pictures have been in the lucrative remake business for some years. Inevitably it was only so long before they would turn their attention to their most profitable 2D animation The Lion King. With Jon Favreau announced as director and a distinguished vocal cast attached, it was clear that this 'Hamlet with lions' was in safe hands. Maybe a little too safe, however, as this admittedly highly impressive movie offers few surprises. Still, what worked before works again and there is certainly little to dislike about this retelling.

As you would expect with Beyoncé and Donald Glover in the cast, the soundtrack is excellent. Their duet on 'Can You Feel the Love Tonight' is a particular highlight. The new recordings of the Tim Rice & Elton John compositions are handled beautifully. Arrangements are much the same as before yet the quality of the performances mean they are at least a match for the originals. In many instances I think the more r'n'b infused take on the songs works better than the Broadway-pop of the original. Another musical highlight is the Jackson 5-esq 'I Just Can’t Wait to Be King', given new vigor by JD McCrary and Shahadi Wright Joseph as young Simba and Narla respectively, backed up by an astonishingly lifelike chorus of singing and dancing wildlife. 

There is, undoubtedly, a lot of fun to be had from watching elaborately staged musical numbers performed by ‘real’ animals. Yet while this is appealing it also can’t help but feel a little like a lavish experiment, rather than a movie experience proper. One drawback of the incredibly photorealistic CGI is it is so lifelike as to make the animals oddly less expressive, resulting in many scenes lacking the emotional weight of the original 2D animation. 

Director Jon Favreau was tasked with bringing the movie to 'life' after the blockbuster success of his previous Disney reboot The Jungle Book (J Favreau, 2016). While I am a fan of Favreau’s work as director, the movie so slavishly follows the original that he leaves little of his stamp upon it. Ultimately, the shadow of the original Lion King looms so large over this version that it is hard not to make constant comparisons between the two. 

A lot of talent was involved in the making of The Lion King and the result is a good movie. More than that, it is a very impressive movie. But with songs, dialogue and entire scenes lifted from the first film it feels patently unoriginal. Fundamentally, it is the same movie as before, but this time with real fake lions. As such, as great as the production is, this new King is unlikely to usurp the original as your favourite musical Shakespeare adaptation with Lions. 

Freaky Friday (2003)

Freaky Friday (Dir: Mark Waters, 2003). 

Walt Disney Pictures’ Freaky Friday is, to date, the studios’ third of four screen adaptations of Mary Rodgers’ popular 1972 comic novel. 

Here a trip to a Chinese restaurant and a mysterious fortune cookie is the catalyst for switching the mind and bodies of overbearing middle age mother Dr Tess Goldman (Jamie Lee Curtis) and her rebellious, rock chick teenage daughter Anna (Lindsay Lohan). Unfortunately the switch coincides with Tess' marriage rehearsal and Anna's band Pink Slip's chance to audition for a performance slot at House of Blues.

The original Freaky Friday (Gary Nelson, 1976) was met with positive reviews and a moderately successful box office on release. Gaining a larger audience through home video and TV screenings, it is now seen as a highlight of an era in which many of the studios' movies were meet with indifference. Even so, four film adaptations, not to mention a stage musical, in just over 40 years does seem a little excessive. Yet each new version has had its own merits, proving Freaky Friday is a pretty robust brand.

This one deviates from the book significantly. The original movie did too, but with a screenplay by author Mary Rodgers it did capture the spirit of the novel. Here, Heather Hatch and Leslie Dixon’s screenplay offers a fresh and funky update on Rodger's original. Rather than an otherwise ordinary Friday the 13th, this Freaky Friday takes place on the eve of mom's wedding - a conceit also used in the stage musical and subsequent Disney Channel Original Movie adaptation, likewise titled Freaky Friday (Steve Carr, 2019). Mom is now a successful psychiatrist with a bestselling self-help book as opposed to harassed housewife. While this is more reflective of modern times, it does rob the story of the mildly feminist tone of the original. The basic premise of the switch reversing only with mutual understanding is intact, however. Director Mark Waters brings a much needed light touch to the material, never letting it descend into the heavy-handed farce it may have.

Age 16, Lindsay Lohan was already a veteran of the Disney remake, having appeared as twin sisters in The Parent Trap (Nancy Myers, 1998). Evidently making the difficult transition from child star to teen with ease; after subsequent success in Mean Girls (Mark Waters, 2004) and Herbie: Fully Loaded (Angela Robinson, 2005) her career sadly faltered. Her performance here is a reminder of how promising a talent she was, particularly in comedy. Former scream queen Jamie Lee Curtis also proves her comedy chops in what is arguably her best role of the 2000s.

As a personal boyhood favourite, the original Freaky Friday holds a nostalgic resonance which this iteration could not possibly have. However, this movie is still a lot of fun, thanks largely to an appealing cast. A lightweight, funny family movie, this may appeal mostly to tweenage girls, but should be enjoyed by anybody who has ever wished to be someone else for a day.