THE SON OF KONG (Dir: Ernest B Schoedsack, 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 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. 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.

Son of Kong adopts a much lighter, more comic tone than its predecessor and 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. Its special effects are still superlative; the performances are strong and at barely 70 minutes it doesn’t outstay its welcome. Lower your expectations (slightly) and you will find The Son of Kong a highly entertaining time waster.

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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, blockbu

JOKER (Dir: Todd Phillips, 2019).


Joaquin Phoenix stars in Todd Phillips much anticipated movie based on the DC comic book villain the Joker.


Set in a pre-Batman Gotham City, Joker charts the descent into madness of failed comedian Arthur Fleck (Phoenix). Fleck bears a depressing, isolated existence, working as a clown-for-hire by day and caring for his elderly mother by night. Fired from his job and suffering a beating at the hands of Wayne Enterprises employees Fleck turns vigilante on those who those he feels have wronged him, while desperately trying to find acceptance in an uncaring society, ultimately becoming his alter ego Joker.

Joker has divided critics and audiences and I can see why.

Director Phillips found fame with comedy movies Old School (2003) and The Hangover (2009), but his Joker is anything but funny. In many respects it is a love letter to 70s cinema; paying homage, in particular, to the work of Martin Scorsese, notably Taxi Driver (1976) and King of Comedy (1983) and Paddy Chayefsky’s dark media satire Network (Sidney Lumet, 1976). Borrowing its themes and visual style from those movies, Joker could be accused of being derivative, but it certainly is a handsome production; its gritty 70s milieu is arguably its strong suit.

Phoenix’s central performance is undoubtedly powerful and very intense. Many will acclaim this while others, myself included, may find it a little overwrought and lacking subtlety. By contrast, the surprisingly low-key performance by Robert De Niro, as a late night talk show host, is one of his best in recent years. Zazie Beetz, in a relatively small but important role as Fleck’s neighbour was the standout among the cast for me.

Much controversy has arisen over the glorification of violence in the movie. Yes, it is brutal in places but I feel this is inevitable in a DC origins movie about a deeply disturbed, complex character. This is no PG13 or 12A superhero movie. Take heed of the rating, it is a relentlessly dark and very distressing movie and is definitely not suitable for children or young teens. This is a movie whose lead character is suffering mental illness and this was my major problem with Joker. I understand the movie’s conceit that Fleck is the manifestation and result of an unfeeling, disinterested society. However, I feel very uneasy about how mental health is paraded as entertainment and found its depiction here both cruel and potentially damaging.

I wanted to love Joker but I didn’t. I don’t wish to discourage anyone else from watching the movie; this review represents my personal opinion. This may well be a movie that you enjoy as others at the screening I attended obviously did. For me both the handling of the theme and Phoenix's performance were lacking in sensitivity and bordering on the offensive. A disturbing and unsettling viewing experience that I would have difficulty recommending.

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ONE HUNDRED AND ONE DALMATIANS (Dir: Wolfgang Reitherman, Hamilton S Luske & Clyde Geronimi, 1961).

Walt Disney's classic animated feature based upon Dodie Smith's novel The Hundred and One Dalmatians.


One Hundred and One Dalmatians tells the story of dalmatians Pongo (Rod Taylor) and Perdita (Cate Bauer), whose 15 puppies are stolen by the evil Cruella de Vil (Betty Lou Gerson). With the help of cohorts Horace and Jasper, Cruella intends to turn these and 84 additional pups into spotty dog skin coats. Utilising the ingenious Twilight Bark dog social network, Pongo and Perdita track their offspring to Cruella's abandoned Hell Hall country estate and embark on a daring rescue.

With it's impressionist background art and loose, stylistic approach to character design ...Dalmatians was Disney's most stylish and contemporary animation to date. Nearly sixty years after release it's highly graphic Mid-century modern stylings are as fresh and appealing as ever. In fact it's difficult to recall any other animated feature with such a dramatic and arresting visual style. In particular, praise must be given to beautiful rendering of early 1960s London; effortlessly capturing the spirit and atmosphere of the city and it's surrounding countryside.


Matching the impressive visuals is an exceptionally well realised screenplay by Bill Peet. One Hundred and One Dalmatians is an expertly crafted thriller, tightly plotted and exciting while remaining lighthearted and extremely witty. It is populated by a fantastic cast of characters, not least Cruella de Vil, possibly the greatest of all Disney villains. Clean-cut canine leads Pongo and Perdita are both heroic and charming and audiences will have no trouble identifying with the parental pooches on their daring quest to rescue the stolen pups.

One Hundred and One Dalmatians easily ranks among the greatest of Walt Disney's many significant achievements. Its beautiful visuals, flawless storytelling, top notch vocal work and fantastic music combine to make ...Dalmatians a masterpiece of movie making.

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Happy 91st birthday to my favourite movie star, Mickey Mouse!

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VICEROY’S HOUSE (Dir: Gurinder Chadha, 2017).

Viceroy’s House is a fact based drama detailing the events surrounding the Partition of India from British born Indian director Gurinder Chadha.

Set in 1947 Delhi during the dissolution of the British Raj. As the last Viceroy of India, Lord Louis Mountbatten (Hugh Bonneville) is to oversee the transition from British rule to Independence. India is a country divided, between those who wish the independent nation to remain intact and those who wish to establish the separate Muslim country Pakistan. Against this backdrop is the Romeo and Juliet-esq tale of Jeet (Manish Dayal) and Alia (Huma Qureshi) whose love is thwarted as he is Hindu and she is Muslim.

The Partition of India was a bloody mess at the hands of the UK government. As the film's postscript informs us "14 million people were displaced and one million Hindus, Muslims and Sikhs died". It is a dark episode in 20th Century British history rarely spoken of in the UK. For this reason, Viceroy's House is a difficult film to criticise, as it relays such an important story. Perhaps it can only be faulted for not depicting how truly horrific it was.

Hugh Bonneville is very effective as the beleaguered Mountbatten faced with the thankless and controversial task of dividing India. He is surrounded by a quality supporting cast of acting legends including Gillian Anderson, Michael Gambon, Om Puri and Simon Callow. As the star-crossed young lovers Manish Dayal and Huma Qureshi are both touching and appealing.


Director Gurinder Chadha is a talented filmmaker. Her feature is incredibly moving and made more powerful by the knowledge that it draws upon Chadha's own family history; her grandparents were among those displaced and her aunt starved to death on the migration.

It could be argued that Chadra's gentle approach to Partition does make a challenging subject more accessible for audiences. The fact that it addresses an issue largely untold in film is significant, however more palatable that issue has been made. The powerful tale may provide uncomfortable viewing for many, but do not let that dissuade you from watching this ultimately very moving film.

Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Viceroy’s House. Link below.