“Paddington 2″

Susan Granger’s review of “Paddington 2” (Warner Bros.)


Set a few years after Paddington sprang onto the silver screen, the red-hatted, blue-raincoated, marmalade-scarfing bear (voiced by Ben Whishaw) has settled into a new life in London’s Windsor Gardens with his adoptive parents, the Browns (Hugh Bonneville, Sally Hawkins).

Since his beloved Aunt Lucy (Imelda Staunton), an Anglophile who still lives in Darkest Peru, is celebrating her 100th birthday, Paddington has decided to send her an expensive book of famous London landmarks, described as a “popping book” by Mr. Gruber (Jim Broadbent), the antiques dealer.

But before Paddington can earn enough money, the rare book is stolen by prissy Phoenix Buchanan (Hugh Grant), an aging actor who has been reduced to doing dog food commercials.

What dastardly devious Phoenix knows that Paddington doesn’t is that the seemingly innocuous pop-up book is really a secret treasure map, so he frames Paddington for the theft.

Dispatched to prison, Paddington finds himself living with intimidating inmates like the snarling chef, Knuckles McGinty (Brendan Gleeson) – or “Nuckel’s” as it’s misspelled on his tattooed fists – whom Paddington wins over with – what else? – marmalade!

Meanwhile, the émigré bear’s friends and family (Julie Walters, Madeleine Harris, Samuel Joslin) work diligently for his release, much to the dismay of Mr. Curry (Peter Capaldi), the neighborhood’s odious Britain-firster.

Continuing his witty live-action adaptation of Michael Bond’s series of whimsical children’s books, writer/director Paul King, teaming with co-writer Simon Farnaby, carry on the elaborately endearing slapstick silliness, replete with imaginative interludes and inventive, colorful sets.

On the Granger Movie Gauge of 1 to 10, “Paddington 2” is an adorable, thoroughly enjoyable 8, reinforcing the sublime belief: “If you’re kind and polite, the world will be right.”



Susan Granger’s review of “Hangman” (Lionsgate/Saban Films)


It’s sad when iconic actors like Al Pacino (“The Godfather,” “Serpico,” “Sea of Love”) stoop to meaningless whodunits like this exercise-in-futility, directed by stuntman-turned-actor Johnny Martin.

The prologue shows retired homicide detective Ray Archer (Pacino) sitting in his vintage car, doing crossword puzzles in Latin (because he was once an altar boy). Suddenly, he’s sideswiped by a hit-and-run driver in a blue truck. After a high-speed chase, the culprit is caught.

Flash forward one year – and Ray becomes involved in a string of grisly, gruesome murder committed by a vicious serial killer who strings up his victims and, using their corpses, carves alphabet-letter clues via the titular children’s word game.

Apparently, Ray’s badge number and that of his stoic buddy Will Ruiney (Karl Urban), whose wife was murdered a while ago, were found whittled into a classroom desk in a school near the first victim’s body.

Although the setting is Monroe, Georgia, joining them is intrepid New York Times investigative reporter Christi Davies (Brittany Snow), who was once nominated for a Pulitzer Prize, although her ride-along presence is obviously unwelcome.

The trio’s sleuthing takes on added pressure when they realize that there will be a new victim every 24 hours, unless they can follow the clues and capture the psychopathic perpetrator.

Saddled with stereotypical characters and an illogical, inanely convoluted script by Michael Caissie, Phil Hawkins and Charles Huttinger, director Johnny Martin (“Vengeance: A Love Story”) relies on fast-paced action scenes to propel past the idiotic banter that passes as dialogue and the police procedural plot.

On the Granger Movie Gauge of 1 to 10, “Hangman” is a forgettable 4 – a rotten riddle.


“Phantom Thread”

Susan Granger’s review of “Phantom Thread” (Focus Features/Annapurna Pictures)


Daniel Day-Lewis is one of our finest actors; each performance is precisely researched, resulting in absolute authenticity.

Here, he plays eccentric, self-absorbed Reynolds Woodcock, a discerning British fashion designer. In the 1950s, lavish haute couture was revered by rich women and royalty, along with the couturiers.

Impeccably groomed, imperious Woodcock demands that his elegant London townhouse home/office revolves around his craftsmanship and whims. Breakfast is silent: no crunching toast or idle chatter.

Woodcock’s domineering perfectionism is supported by his omnipresent spinster sister/business partner Cyril (Lesley Manville), who dismisses his mistresses when he tires of them.

When he spies a young waitress, Alma (Vicky Krieps), in a countryside cafe, Woodcock impulsively decides she will be his new muse/model, proclaiming her broad shoulders, small breasts and belly are “perfect.”

So Alma moves into his hermetic existence, proud to have the strength and stamina to stand quietly for hours while he meticulously uses her lithe body to fit gorgeous gowns, often stitching secret embroidered messages into the fabric’s lining.

She explains, “Reynolds has made my dreams come true. And I have given him what he desires most in return: every piece of me.”

But, soon, her passive/aggressive presence becomes increasingly disruptive within the House of Woodcock. Which leads to an overt, psychopathic twist, even as Woodcock, who is haunted by the memory of his mother, indulges in a petulant, jealous pique when a longtime patron buys from a rival.

It’s all about a tortured, misogynistic artist who puts his creativity above all else, psychologically controlling and abusing those around him, following the same idiosyncratic theme as Darren Aronofsky’s ill-fated “Mother!”

Auteur Paul Thomas Anderson (“There Will Be Blood,” “The Master,” “Boogie Nights,” “Magnolia”) has crafted a bizarrely superficial Gothic romance, paying sinister homage to Alfred Hitchcock, whose wife’s name was Alma.

Woodcock’s character was inspired by monastic Cristobal Balenciaga and Charles James, who was known to punish misbehaving couture clients. And kudos to production designer Mark Tildesley, costumer Mark Bridges, and music by Radiohead’s Jonny Greenwood.

On the Granger Movie Gauge of 1 to 10, “Phantom Thread” is a strange, shallow 6 – despite charismatic Daniel Day-Lewis’s immersive performance.


“All the Money in the World”

Susan Granger’s review of “All the Money in the World” (Sony Pictures/Tri-Star)


Perhaps even more fascinating than this fact-based kidnap drama is how 80 year-old director Ridley Scott replaced scandal-riddled Kevin Spacey with 88 year-old Christopher Plummer as billionaire J. Paul Getty. After re-filming 22 scenes, Scott seamlessly edited old reaction shots with the new footage.

In 1973, bohemian, 16 year-old John ‘Paul’ Getty III (Charlie Plummer) was kidnapped in Rome. His frantic mother, Gail Harris (Michelle Williams), was desperate to deliver the $17 million ransom the kidnappers demanded, but his grandfather declined to pay.

Instead, obstinate Getty summoned an ex-C.I.A. agent, Fletcher Chase (Mark Wahlberg), the family ‘fixer,’ skilled in security and crisis management, to track Paul down.

(A pioneering oil tycoon, rapacious Getty was at that time the richest man in history. He paid no taxes because his global estate was in a charitable trust, allowing him to invest in art work and antiquities, many of which are on display at the Getty Museum in Los Angeles.)

Notoriously frugal, he installed a pay phone for visitors at his baronial, 72-room British mansion. Elderly Getty icily claimed that, since he had 14 grandchildren, paying a ransom for Paul would encourage further kidnappings.

Italian crime syndicate operatives, a Calabrian faction of the Red Brigade, an urban terrorist organization, held the troubled teenager hostage in the countryside. At one point, the thugs cut off Paul’s right ear and mailed it to a Rome newspaper, as Cinquanta (Romain Duris) continued the negotiation.

Scripted by David Scarpa, based on John Pearson’s Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty (1995), it’s a tense, infamously true thriller/character study, never delving into sentiment or moral judgment. End credits acknowledge that certain historical scenes were fictionalized for dramatic effect.

FYI: Charlie Plummer is not related to Christopher. Paul Getty’s son, Balthazar, is an actor. And soon, FX will broadcast “Trust,” a mini-series depicting the same case.

On the Granger Movie Gauge of 1 to 10, “All the Money in the World” is a suspenseful 7, featuring a smoldering, persuasive performance by Christopher Plummer.


“Jumanji: Welcome to the Jungle”

Susan Granger’s review of “Jumanji: Welcome to the Jungle” (Sony/Columbia)


This re-imagining of Robin Williams’ 1995 action comedy delights in its own right, as four archetypal teenagers, serving detention in the school’s storeroom, discover a vintage video game and decide to play, each assuming an avatar.

Brainiac nerd Spencer (Alex Wolff) picks Dr. Smolder Bravestone, football star Fridge (Ser’Darius Blain) chooses zoologist Moose Finbar, egocentric Bethany (Madison Iseman) opts for ‘curvy’ cartographer Shelly Oberon, leaving angry, uptight Martha (Morgan Turner) as Ruby Roundhouse.

To their amazement, they‘re suddenly ‘grown up,’ inhabiting the bodies of their avatars. Insecure Spencer has become muscular Dwayne Johnson. Fridge turns into acerbic comedian Kevin Hart, whose duty is to tote their weapons in his backpack. Beautiful Bethany is appalled when she discovers she’s been transformed into pudgy Jack Black. And geeky Martha gets her groove on as rockin’ Karen Gillan.

After adjusting to the unexpected body-swap, their quest within the jungle game is to replace a green gemstone that’s been stolen from the eye of a giant jaguar statue. If they succeed, they can break the curse perpetrated by Dr. Bravestone’s smarmy former partner, Van Pelt (Bobby Cannavale).  And Nick Jonas appears briefly as a former pilot who’s been stuck in the game for more than 20 years.

What makes it work is how they defy their stereotypes, epitomized by the flawless casting. Dwayne Johnson oozes self-deprecating charm, while Jack Black captures the many nuances of Bethany’s annoying self-absorption.

Inspired by the work of children’s author Chris Van Allsburg, it’s scripted by Chris McKenna, Erik Sommers, Scott Rosenberg & Jeff Pinkner and adroitly directed by Jake Kasdan, son of Lawrence Kasdan, who worked as a screenwriter with Steven Spielberg on “Raiders of the Lost Ark.” You can spot the familiar connections.

On the Granger Movie Gauge of 1 to 10, “Jumanji: Welcome to the Jungle” is a spirited 7, a fun-filled adventure that should appeal to the whole family.



Susan Granger’s review of “Downsizing” (Paramount Pictures)


Based on a visionary ecological concept by director Alexander Payne and his longtime collaborator Jim Taylor, this ambitious social satire soon becomes more of a slog than a sci-fi adventure.

Representing Everyman, mild-mannered Paul Safranek (Matt Damon) is an occupational therapist at the Omaha Steak Company who, along with his wife Audrey (Kristen Wiig), dreams of being able to afford the good life – someday.

As the world faces an overpopulation crisis, scientists develop an ingenious solution that can shrink humans to five inches tall. And, as a Norwegian doctor (Rolf Lassgard) points out, in a miniature world, money goes a lot further, meaning that an average, middle-class couple can live like millionaires.

Captivated by a pep talk from former classmate Dave Johnson (Jason Sudekis) and seduced by the promise of luxuries beyond their wildest dreams, Paul and Audrey agree to undergo the controversial – and irreversible – procedure in Leisureland. But at the last minute, Audrey gets terrified, leaving Paul in the mini-world without her.

At this point, the intriguing tone changes completely.  The once-sharp ‘small’ humor disappears, along with the core premise, giving way to poignancy and, ultimately, predictability.

Paul is befriended by his hedonistic neighbor, Dusan (Christoph Waltz), whose ‘maid’ is Ngoc Lan Tran (Hong Chau), a Vietnamese refugee, limping on an ill-fitting prosthetic leg. She introduces Paul to the impoverished ‘miniature masses’ who dwell in tenements outside Leisureland’s walls, changing his perspective of this so-called utopia.

Eventually, they wind up in Norway, where Paul learns that an ecological disaster is imminent. As this apocalypse looms, the once-fascinating shrinkage concept becomes irrelevant.

What a letdown from Alexander Payne and Jim Taylor, who scored with “Election,” “Nebraska,” and “About Schmidt”!  While Hong Chau is memorable in her sensitive supporting role, this is Matt Damon’s second ‘hapless loser’ failure in a row, following “Suburbicon.”

On the Granger Movie Gauge of 1 to 10, “Downsizing” is a disappointing 5. As one wag already quipped, “Honey, they shrunk the fun!”


“The Greatest Showman”

Susan Granger’s review of “The Greatest Showman” (20th Century Fox)


Hugh Jackman is sensational as the legendary huckster P.T. Barnum – but neither the script nor the music of this lackluster effort come close to Broadway’s “Barnum” (1980), starring Jim Dale.

Born in 1810, Phineas Taylor Barnum’s story begins with a quick glimpse of his poverty-riddled childhood and courtship of his beloved Charity (Michelle Williams).

When Barnum arrived in New York in 1834, he had a wife and two young daughters to support. After his bookkeeping job went bust, he cast around for something to do. Using money he didn’t have, he bought a decrepit museum on Broadway and Ann Streets, filled with stuffed oddities, like the Feejee Mermaid, a monkey carcass stitched to a fishtail.

When that novelty wore off, one of his daughters urged him to fill the hall with “something alive.” So Barnum hired 25”-tall Charles Stratton, who suffered from a pituitary deficiency, turning him into General Tom Thumb, and bearded Josephine Clofullia (Keala Settle), along with Chang and Eng, the original “Siamese Twins.”

A brilliant impresario, Barnum noted, “Without promotion, something terrible happens – nothing!”

His menagerie became so famous they were invited to meet England’s Queen Victoria at Buckingham Palace. While in Europe, Barnum became smitten with elegant soprano Jenny Lind (Rebecca Ferguson), “the Swedish nightingale.”

After his Museum burned to the ground, irrepressible Barnum partnered with a wealthy New Yorker (Zac Efron), who embarked on a scandalous romance with a trapeze artist (Zendaya).

Barnum eventually joined James A. Bailey to found Barnum & Bailey Circus under the big tent – with its legendary elephant star, Jumbo.

Working from a superficial, loosely structured, simplistic screenplay by Bill Condon (“Dreamgirls,” “Chicago”) and Jenny Bicks (“Sex and the City”), it’s frantically and flamboyantly directed by Michael Gracey, whose inexperience is obvious.

Except for “This Is Me,” the soupy, forgettable songs are by Benj Pasek and Justin Paul, who won an Oscar (“La La Land”) and a Tony (“Dear Evan Hanson”).

On the Granger Movie Gauge of 1 to 10, “The Greatest Showman” is a starry-eyed 6. Showy, splashy and synthetic.



“The Leisure Seeker”

Susan Granger’s review of “The Leisure Seeker” (Sony Pictures Classics)


Movies for and about seniors are few and far between, particularly when Helen Mirren teams up with Donald Sutherland for a nostalgic journey.

John Spencer (Sutherland) is a retired English professor, devoted to the works of Ernest Hemingway, James Joyce and Herman Melville. Although he can quote verbatim from literary works, he’s becoming increasingly debilitated from Alzheimer’s/dementia, which renders him incapable of remembering even the most mundane details – like what day it is and his wife’s name.

So it’s Ella Spencer (Mirren), the caretaker, who suggests they climb into their 1975 Winnebago Indian RV, nicknamed the Leisure Seeker, for one last road trip from their home in Wellesley, Massachusetts, to Key West, Florida.  It may be a ridiculous idea, she concedes, but what do they have to lose?

Enjoying the simple pleasures each day brings, they stop at familiar campgrounds along the way. At night, they look at photographs of family and friends that Ella projects onto a makeshift screen. That leads to reminiscing about particular incidents during their decades-long marriage, while accusing each other of alleged infidelities.

Inevitably, their narrative delves into death and dying, particularly the concept of “choosing” how one dies.

None of this sits well with their adult children (Christian McKay, Janel Moloney) who had no idea their parents were leaving. They’re understandably worried because Ella is also gravely ill, masking her pain with medicine and whiskey.

Donald Sutherland delivers a finely textured portrait of a dignified scholar in decline, while Helen Mirren imbues Ella with genuine warmth, despite her contrived and inconsistent Southern accent.

Working from a script he co-wrote with Stephen Amidon, Francesca Archibugi and Francesco Piccolo, based on Michael Zadoorian’s novel, Italian director Paolo Virzi (“Human Capital”) never settles on a consistent tone, perhaps because it’s his first English-language film.

So it never measures up to Jane Fonda/Robert Redford’s “Our Souls at Night” (2017) or Blythe Danner/Sam Elliott’s “I’ll See You In My Dreams” (2016).

On the Granger Movie Gauge of 1 to 10, “The Leisure Seeker” is a gentle, bittersweet 6 – notable for its performances.


“Film Stars Don’t Die in Liverpool”

Susan Granger’s review of “Film Stars Don’t Die in Liverpool” (Sony Pictures Classics)


Annette Bening delivers a powerhouse performance as sultry Gloria Grahame. Yet to fully appreciate it, you should know a bit about who this enigmatic actress was.

Back in 1940s and ‘50s film noir, Grahame starred in “Crossfire,” “Sudden Fear,” “The Big Heat,” “In a Lonely Place” and “The Bad and the Beautiful,” for which she won a Best Supporting Actress Oscar. Fans also remember her from “It’s a Wonderful Life,” “The Greatest Show on Earth” and “Oklahoma!”

Obsessed with her appearance, Grahame underwent extensive plastic surgery, habitually fixing nonexistent flaws. Her volatile temperament alienated even the most admiring directors, and she courted scandalous gossip with four disastrous marriages – one to the son of an ex-husband.

The day after divorcing actor Stanley Clements, she married director Nicholas Ray. That ended disastrously after Ray found Gloria in bed with Tony, his 13 year-old son by a previous marriage. She then married and divorced producer Cy Howard before marrying her stepson, 23 year-old Tony Ray.

In 1979, Gloria was on-stage in England when she met Peter Turner (Jamie Bell), a British actor who was 28 years younger. Peter became besotted with her, and she spent the last days of her life at his family’s home in Liverpool. Gloria Grahame died from recurring breast cancer in 1981 at age 57.

This is their love story. Just theirs – with only occasional flashbacks. Too bad there weren’t more.

Inspired by Turner’s memoir, adapted by Matt Greenhalgh and directed by Paul McGuigan, it was propelled into production by James Bond producer Barbara Broccoli, who has known Turner for more than 40 years.

Not only is Annette Bening riveting but Jamie Bell gets his first meaty role since “Billy Elliot.” Their “Saturday Night Fever” disco seduction sequence is terrific. And they’re given stalwart support from Julie Walters and Vanessa Redgrave.

If you’re curious to know more about the real Gloria Grahame, I highly recommend Vincent Curcio’s 1989 biography “Suicide Blonde.”

On the Granger Movie Gauge of 1 to 10, “Film Stars Don’t Die in Liverpool” is a subtly poignant 7, another Tinseltown tragedy.




Susan Granger’s review of “Hostiles” (Entertainment Studios)


Paying homage to classic Westerns like John Ford’s “The Searchers,” writer/director Scott Cooper has created a different kind of frontier saga, one which examines the complexity of the Native American conflict and connects with relevant, contemporary themes, including reconciliation, inclusion and equality.

“The essential American soul is hard, isolate, stoic and a killer,” states the preface by D.H. Lawrence.

Set in 1892, it begins with a vicious Comanche raid on isolated homesteaders and U.S. soldiers torturing an Apache family – setting the scene for this revisionist examination of the American West.

Under threat of court martial, embittered Army Capt. Joseph J. Blocker (Christian Bale) must escort dying Cheyenne war chief Yellow Hawk (Wes Studi) and his family from imprisonment at Fort Berringer in New Mexico Territory to their tribal lands in Montana.

Riding northward through the rugged landscape, Blocker and his small troop of soldiers discover grief-wracked Mrs. Quaid (Rosamond Pike), the sole survivor of that Comanche raid; she is determined to dig her children’s graves with her own bare hands.

Given no choice, Blocker takes the widow along with them. When they reach Ford Collins, Colorado, he’s further burdened by transporting psychopathic Sgt. Philip Wills (Ben Foster) for trial.

When the travelers are brutally attached by Comanche raiders, Yellow Hawk begs to be released so he can help them fight, observing, “We must unite…”  Eventually, when faced by a stubborn rancher who refuses to allow proper Cheyenne burials, they do.

Working from an episodic script by the late screenwriter Donald Steward, Scott Cooper enlisted Chief Philip Whiteman, the pre-eminent Northern Cheyenne Chief of Montana, to ensure authenticity. Along with his cast and crew, he was determined to get every detail of their customs and mores correct.

“The majority of Americans are shocked at what our country has become,” notes Bale. “This tax bill, etc. is not what American was built on. I adore this country; it’s my adopted home. Most Americans are shocked to see the hatred and division that has occurred recently, particularly towards refugees. It’s a genuine tragedy. But we have been here before; we can learn from that.”

On the Granger Movie Gauge of 1 to 10, “Hostiles” is a savage, sorrowful 6, perhaps igniting a conversation about how two opposing forces can come together and move forward in peace and harmony, for the betterment of humanity.