not horrible nor great

It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

It’s sentimental, ridiculously long and only occasionally funny

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

COAST OF SKELETONS and its predecessor, DEATH DRUMS ALONG THE RIVER, are two of the finest Harry Alan Towers-produced movies of the 1960s. They're both exotic, Africa-shot detective adventures that come across as Bond flicks mixed with German krimi (both tales are based on SANDERS OF THE RIVER, a novel by Edgar Wallace). DEATH DRUMS ALONG THE RIVER has the edge, but this is still a worthy follow-up.The story sees the efficient investigator Harry Sanders en route to visit the crew of a diamond-hunting ship, where his mission is to find out what happened to a previously-wrecked vessel. Before long he finds himself caught up in conflict between the captain and his crew, along with a conspiracy to make certain members millionaires.COAST OF SKELETONS is perfectly adequate, Sunday afternoon viewing-type fare. The story is straightforward and yet complex enough to keep you watching, and there's a wealth of hard-knuckle action to keep male viewers enthralled. None of the twists and turns of the narrative are very surprising, but they're certainly handled adroitly by the director.Richard Todd makes for an ever-dependable hero, and he's backed up by an effective Dale Robertson as the gruff captain and Euro-crumpet Marianne Koch as his second. The outrageously posh Derek Nimmo shows up as another associate. COAST OF SKELETONS is certainly one of the slickest and most entertaining of the Towers of London productions.

Richard Todd is back as Harry Sanders in another African adventure. The story is good enough but the acting with this international cast is largely suspect. Heinz Drache and Marianne Koch are the main offenders of the wooden acting school but this may have something to do with the fact that English is not their first language. Dale Robertson as the Texan playboy has no such excuse. His character is such a stereotype, it's hard to believe that Robertson has made a career of playing cowboys. But then the writing has much to blame there. Special mention must go to the ending. Talk about a convenient one. This movie is the perfect example of tying up all loose plot endings with a bang. Not very satisfying but at least it's final. The movie should only be of interest to Richard Todd completists or people wondering what a Harry Alan Towers (the writer) movie would be like without the softcore sex and violence that would dominate his later films.