A BILLION FOR BORIS (Dir: Alex Grasshoff, 1984).

A BILLION FOR BORIS (Dir: Alex Grasshoff, 1984).

A Billion for Boris is the film adaptation of Mary Rodgers' sequel to her novel Freaky Friday.

Repairing an old TV set, Ben ‘Apeface’ Andrews (Seth Green) fixes it to show the next day’s programmes. He duly shares this information with his sister Annabel (Mary Tanner) and friend Boris (Scott Tiler). Seeing the money making potential, Boris heads off to bookies, but his winning streak attracts the unwanted attention of gangsters.

A movie version of Freaky Friday (Gary Nelson) was released by Walt Disney Productions in 1976. Although popular, Disney chose not to film either of Rodgers’ published sequels. A Billion for Boris was brought to the screen almost a decade later courtesy of independent Comworld Pictures.

As such, it is an adaptation of the sequel to the novel, rather than a sequel to the Disney feature. The setting, as in Rodgers’ books, is a New York apartment block, not the suburban Los Angeles of Disney’s Freaky Friday. The events of the earlier movie are not referenced, with the exception of the firing of the Andrews’ housekeeper for stealing liquor.

As a low budget production, A Billion for Boris lacks the polish of Freaky Friday. Also missing is Rodgers’ prose; as screenwriter of the original movie she captured much of the spirit of her book, even though significant changes were made to the plot.

Its largely unrecognisable cast doesn’t have the appeal of the previous movie. Of the adults, Lee Grant does a neat turn as Boris’ quirky mom. Future star Seth Green is standout among the kids as ‘Ape Face’.

In spite of this, it is still an entertaining movie. Some might question the theme of underage gambling and while it would raise a few eyebrows today, I doubt it did in 1984. Use it as opportunity to discuss with your kids the morality of betting if you will, but I wouldn’t let it put you off.

While A Billion for Boris doesn’t raise big laughs it does provides some chuckles. I am fairly certain I won’t revisit it as often as Freaky Friday, a childhood favourite that holds up as an adult. However, it does hold curiosity value to fans of that movie and is undemanding, lightweight fun.

Check out my blog JINGLE BONES MOVIE TIME for more movie reviews!

THE LEFTOVERS (Dir: Paul Schneider, 1986).

If there is a more 1980's way to open your movie than with Howard Jones' New Song, than I do not know what it is. I am also unsure as to who this lightweight comedy will resonate with, other than 1980's kids.

The Leftovers stars singer turned actor John Denver as Max Sinclair, director of The Middleburg Orphanage and surrogate father to the ragtag bunch of kids who live there. Cindy Williams is the live in help. Together they fend off plans to redevelop the home by underhanded means, while the kids do all they can to keep from being adopted.

Originally aired on television as part of ABC's The Disney Sunday Movie weekly series in November 1986. It's not hard to imagine that a decade earlier The Leftovers would have been released to cinemas, with Dean Jones and Sandy Duncan as possible leads. It is old fashioned, inoffensive but not without charm.

It may be a generational thing, but I did enjoy this movie. It is nothing spectacular but the leads are likeable and while the plot has a few too many contrivances and conveniences for its own good, most of its laughs are genuine.

However, it is low-key in the extreme and although I had seen this movie at around the age of 12 or 13, only one scene stuck in my head and that was the opening, probably because my tweenage self was a big fan of Howard Jones!

I am sure I enjoyed The Leftovers as a kid because I lapped up anything Disney. Revisiting it as an adult I am aware that it is no classic, even by 80's Disney TV movie standards. But it is an entertaining 90 odd minutes; if you are in the mood for some gentle 1980's nostalgia you might find it hits the spot. Just don't expect to remember much about it afterwards!

Visit my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Disney movies!

THE MEG (Dir: Jon Turteltaub, 2018).

Bigger isn’t always better, as this mega Jaws clone proves.


Jason Statham stars as Jonas Taylor, a washed up, alcoholic rescue diver held responsible for the death of two submarine crew in a botched rescue attempt. Called upon once again to rescue the crew of a stranded submersible, Taylor finds himself up against the Megalodon, a 75 foot shark thought to be extinct and soon heading for the coast of China! Is he up to the task? Will he end up as a Megalodon's dinner? Does anybody really care?

For those who have dreamed of a movie where Jason Statham battles a prehistoric beast, your wishes have come true. There is little more to The Meg than Statham vs Shark, although for some that will be enough.

Director Turteltaub’s movies rarely take themselves too seriously and The Meg benefits from his light touch. Once it gets going, the action barely sags and it never gets bogged down by the sort of fist clenching emoting that these movies have a tendency to. However, the flipside of this is that The Meg is populated by a few too many underwritten, cardboard cut-out characters and relies a little heavily on concepts and situations familiar from many other, much better, movies.


The computer generated special effects are impressive and while the audience has little investment in the characters to care one way or another if they end up as sharkbait, it is fun to see them get chomped on, one by one, by the massive Megalodon.

If it’s thrills you want, there are plenty, but it’s a shame that filmmakers tend to forget that movies like this don’t necessarily have to be the empty-headed entertainments they so often are. The original Jaws (Steven Spielberg, 1975) is testament to that. It's not a bad film but the formulaic, cookie cutter approach to filmmaking fails to lift it above any other number of forgettable action flicks.

Still, if rampaging monster movies are your thing it is certainly worth a look. If, like me, you have a soft spot for Jaws 3 (Joe Alves, 1983), you might enjoy this equally silly shark saga.

Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Meg! Link below.

A STUDY IN TERROR (Dir: James Hill, 1965).

Fact and fiction collide as Sir Arthur Conan Doyle’s literary detective Sherlock Holmes pits his wits against infamous serial killer Jack the Ripper.

A mysterious medical kit with a distinct crest sets Holmes on the case of the notorious killer and of the prominent aristocratic family he suspects are involved. Taking in the back alleys of 1888 Victorian London and mixing with the lowlifes there in.

A Study in Terror presents us with a highly sanitised version of 1880s Whitechapel; the Ripper’s victims all beautiful with their 1960s coiffures. The movie does, on the surface, appear to be a bit of a romp and was misleadingly advertised as a Batman-esq spoof by US distributor Columbia Pictures. In actual fact the movie is, at times, a pretty grizzly affair.

Screenwriters Derek Ford and Donald Ford have crafted a tense, twisty thriller with moments of horror and plenty of jumps. Director James Hill’s innovative use of point-of-view shots give the murders an extra viscerality while keeping the identity of the killer a mystery. The movie does have a somewhat misogynistic tone, which is perhaps inevitable considering its subject.

John Neville has just the right austerity as Holmes while Donald Houston is an amiably bluff Watson. A fantastic supporting cast includes Brit acting legends Anthony Quayle, Robert Morley and Judi Dench. Best of all is Barbara Windsor as Ripper victim Annie Chapman. Slightly stepping outside of her Carry On... persona, she gives us an all too rare glimpse of her acting ability beyond the giggly, busty blonde stereotype.

With its misogyny and grim use of fictionalised real life murders, you can safely wave goodbye to good taste. Yet, in spite of my misgivings over content, I thoroughly enjoyed A Study in Terror. What, on the surface, threatens to be an exploitative, sensationalist shocker is actually a well produced thriller with a fine cast. Recommended especially to Holmes aficionados and fans of 1960s British cinema.

Visit my blog jinglebonesmovietime.blogspot.com for more classic movie reviews!

WHITE FANG 2: MYTH OF THE WHITE WOLF (Dir: Ken Olin, 1994).

Walt Disney Pictures’ action/adventure sequel to their 1991 hit White Fang (Randall Kleiser).

White Fang told the story of Jack Conroy (Ethan Hawke) and his adventures during the Klondike Gold Rush with the wolfdog of the title. White Fang 2 picks up with Jack now in San Fransisco having left White Fang in the care of his friend Henry Casey (Scott Bairstow). Nearly drowning in a boating accident, Henry is rescued by Lily Joseph (Charmaine Craig) of the native Haida village. Lily Joseph believes Henry to be the human form of a mythical white wolf sent to help her starving tribe. Henry decides to help the Haida locate the caribou while also dealing with a corrupt mining organisation who are exploiting the Haida.

Published in 1906 Jack London's White Fang was a partly autobiographical novel inspired by his experiences in the Klondike. A sequel to a film based on an iconic literary work is unusual. It also seems a little unnecessary, especially one that largely deals with a different set of characters.

His uncredited appearance, limited to the prologue, suggests that Ethan Hawke declined a larger role in the film. As his replacement Scott Bairstow is a somewhat bland leading man and looks like he would be more comfortable in a 90s boy band than in the Klondike. In fairness, the role demands little of him, other than looking pretty while carrying out some mild heroics. Meatier roles are given to Alfred Molina and Geoffrey Lewis as the bad guys, but in general the movie suffers from too much focus on the humans and not enough of the magnificent White Fang; the beautiful half dog/half wolf reduced to supporting player in his own movie.


White Fang 2 is not without entertainment value. Its old fashioned adventure story is pleasant but unspectacular. Those young enough to forgive its simplistic storytelling will enjoy it but older audiences will be wishing this canine caper had a little more bite. Worth a look, especially if you enjoyed the original but, ultimately a bit of a disappointment.

Visit my blog jinglebonesmovietime.blogspot.com for a longer, more in-depth review of White Fang 2: Myth of the White Wolf!

THE DARK CRYSTAL (Dir: Jim Henson & Frank Oz, 1982).

Coming to Netflix on 30th August 2019 is The Dark Crystal: Age of Resistance the prequel to Muppets creator Jim Henson’s original fantasy epic The Dark Crystal. My inner 8 year old can barely contain his wee wee at the thought of this so, in anticipation, I revisited the original.


Believing he is the last of his elf-like Gelfling race, Jen sets out to fulfill a prophecy which foretells that a Gelfling will one day defeat the malevolent Skeksis who rule his homeland of Thra. Jen must locate and replace a missing shard from the mystical crystal from which the Skeksis draw their powers. Learning of the quest, the Skeksis will stop at nothing to deter Jen, having already murdered his kind for their own evil gains.


Co-directed by fellow Muppeteer Frank Oz, The Dark Crystal was seen as a major departure for Jim Henson. Along with conceptual artist Brian Froud, they created a beautiful, intricately detailed alien world populated solely by their elaborate puppet creations. The puppets, or Muppets, are exquisite creations, grotesquely beautiful and believably brought to life by the talented Muppet performers.

The overall tone of the movie is decidedly darker than that of The Muppet Show. However, I think its reputation as nightmare fuel is unwarranted. There is a lot of light to offset the dark and ultimately this is a positive tale with a uplifting message. There is also much humor; granted, it's not the knockabout humour of the Muppets, but the movie does have a lightness of touch that helps make the more sombre moments much more palatable for the young. I first saw The Dark Crystal at age 8 and survived. I would have no qualms about showing it to children of a similar age.


For those who have never seen this magical movie I wholeheartedly recommend it. The eagerly anticipated prequel will, apparently, not require you to be familiar with the original, but I would suggest you give it a watch anyway, simply because it is a fantastic piece of fantasy filmmaking.

Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth version of this review! Link below.