Movie/TV Reviews

Rails & Ties

Susan Granger’s review of “Rails & Ties” (Warner Bros.)

Clint Eastwood’s daughter Alison makes an auspicious directing debut with this compelling family drama.
As the story begins, Megan Stark (Marcia Gay Harden), a nurse, is told that her long battle with breast cancer is ending. After surgery and chemotherapy, she’s determined to live her final weeks as fully as possible. But her taciturn husband, Tom (Kevin Bacon), is in total denial, channeling his emotions into the job he loves. He’s a railroad engineer, running the Stargazer Express between Los Angeles and Seattle.
Then a suicidal woman deliberately pulls her car on the tracks right in front of Tom’s on-rushing train, leaving her precocious, locomotive-loving 11 year-old son, Davey, an orphan. Fleeing from the foster home in which he’s placed, Davey tracks down Tom Stark and demands to know why he didn’t stop the train and save his mother.
Seizing the emotional opportunity, Megan reaches out to Davey – leaving Tom not only to confront the pending investigational hearing as a result of the accident but also to cope with the consequences of taking this ‘missing child’ into their home.
Utilizing contrivances and coincidences more suited for a movie-of-the-week on Lifetime TV, screenwriter Micky Levy delineates several lives on a bleak collision course. But actress-turned-director Alison Eastwood brings admirable spontaneity, understated intimacy and deft dexterity to her vision, astutely seeking collaboration with her father’s longtime cinematographer Tom Stern, production designer James Murakami and editor Gary Roach – adding her brother Kyle Eastwood’s evocative music.
What’s striking is the uncanny resemblance between Kevin Bacon’s reserved demeanor and verbal cadence and ‘early’ Clint Eastwood performances. Was that the actor’s choice or the director’s? On the Granger Movie Gauge of 1 to 10, “Rails & Ties” is a heartfelt 7, particularly for an adult, female audience.

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Lars and the Real Girl

Movie/TV Reviews / Susan

Susan Granger’s review of “Lars and the Real Girl” (M.G.M. release)

Who would think that the story of reclusive man and his mail-order sex doll would make a remarkably sensitive and tender, PG-13 romantic comedy?
Shy, withdrawn Lars Lindstrom (Ryan Gosling) lives a lonely existence in a sparsely furnished garage room next to his brother Gus (Paul Schneider) and pregnant sister-in-law Karen’s (Emily Mortimer) clapboard home in a nameless Midwestern town.
At work one day, Lars’ porn-addicted cubicle-mate shows him how you can order a life-size, pliable plastic ‘woman of your dreams’ on the Internet. A few weeks later when ‘Bianca’ arrives, Lars gently unpacks her and, that evening, escorts her to a family dinner, introducing her as his Brazilian/Danish girlfriend who cannot walk and, therefore, needs a wheelchair. Respectfully he explains how she’ll need her own room because, after all, they’re not yet married.
Alarmed yet fiercely protective, Gus and Karen insist they visit the family doctor/psychologist (Patricia Clarkson) who advises that everyone go along with Lars’ delusion.and, amazingly enough, they do. That includes the bewildered church ladies and Lars’ otherwise cynical co-workers, including a young woman (Kelli Garner) who has a crush on him. Perhaps that’s because their pastor poses the question: “What would Jesus do?” Indeed, due to the townspeople’s kindness and generosity, Bianca soon becomes an integral member of the tight-knit community.
Screenwriter Nancy Oliver (HBO’s “Six Feet Under”) and director Craig Gillespie (“Mr. Woodcock”) consistently downplay the obvious slapstick aspects while slowly developing the characters. After boldly matching wits with Anthony Hopkins in “Fracture,” Ryan Gosling affects a more unobtrusive, understated demeanor, yet never quite succeeding in convincing us that he’s sane. On the Granger Movie Gauge of 1 to 10, “Lars and the Real Girl” is a sentimental 7, chronicling a very strange relationship.

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American Gangster

Movie/TV Reviews / Susan

Susan Granger’s review of “American Gangster” (Universal Pictures)

Based on the true story of an enterprising hoodlum who became a billionaire by dominating the Harlem drug scene, Ridley Scott’s crime drama has been called “Superfly” meets “Serpico.”
Back in the 1970s, when drug trafficking belonged to the Mafia, amiable, soft-spoken Frank Lucas (Denzel Washington) chauffeured one of New York’s most notorious African-American mobsters, Ellsworth “Bumpy” Johnson. After his boss/mentor dies, Lucas quietly begins building his own empire. Astutely eliminating the middle man, he flies to Thailand to import heroin directly from Southeast Asia, arranging to have kilos hidden in caskets of American soldiers loaded onto military transports flying to New York from Vietnam.
Lucas’ “Blue Magic” is not only purer heroin but cheaper; twice the potency, it sells for half as much. Soon he’s making up to $1 million a day. While this entrepreneurship baffles and infuriates his rivals, it also catches the attention of Richie Roberts (Russell Crowe), a stubbornly incorruptible New Jersey cop who is determined to put him in prison, despite Lucas’ bribing the corrupt detective (Josh Brolin) heading New York’s anti-drug Special Investigations Unit.
Written by Steven Zaillian (Oscar-winner for “Schindler’s List”) from a New York magazine article (“The Return of Superfly”) by Mark Jacobson, it boosts director Ridley Scott up from his 2006 comedy debacle, “A Good Year,” also starring Russell Crowe, but, surprisingly, it offers little story-telling originality and gets downright tedious at times. But that’s not the fault of the Oscar-winning leads – Washington and Crowe – who deliver strong performances, as do Josh Brolin and Ruby Dee, as Lucas’ mother.
On the Granger Movie Gauge of 1 to 10, “American Gangster” is a well-crafted but eerily familiar 7, evoking memories of better gangster movies like “The Godfather,” “Scarface,” “Heat,” “GoodFellas” and “The Departed.”

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Lions for Lambs

Movie/TV Reviews / Susan

Susan Granger’s review of “Lions for Lambs” (MGM/UA)

Ripped from today’s headlines, Robert Redford’s latest political thriller is a no-holds-barred indictment of recent U.S. foreign policy and George W. Bush’s seemingly endless “war on terror.”
As political science professor, Stephen Malley (Redford) is trying to motivate an extraordinarily bright but undisciplined student (Andrew Garfield), two of his former students (Derek Luke, Michael Pena), both idealists from underprivileged backgrounds, have enlisted as Army rangers and are engaged in a dangerous firefight in Afghanistan.
Meanwhile, in Washington, D.C., Janine Roth (Meryl Streep), a skeptical veteran television reporter, is interviewing charismatic Senator Jasper Irving (Tom Cruise) who, despite repeated denials, has Presidential ambitions. Right now, he’s revealing the U.S.’s new strategy of sending small Special Forces teams into to the mountains in Afghanistan to prevent Sunni and Shia insurgents from uniting. He’s so convincing in his logic that it’s terrifying.
Utilizing Matthew Michael Carnahan’s terse, intelligent script, deftly edited by Joe Hutshing, and eliciting frighteningly authentic performances from Cruise and Streep, Redford meshes multiple storylines, condemning media manipulation and public apathy and imploring Americans to take some responsibility for what’s happening.
The title comes from a W.W.I German general’s comment about the bravery of British troops and the ineptitude of their leaders: “Never have I seen such lions led by such lambs”.or as anguished Prof. Malley puts it, “where our courageous soldiers are put at risk by leaders who’ve never bled in a fight.”
On the Granger Movie Gauge of 1 to 10, “Lions for Lambs” is a defiant, compelling 10. What distinguishes this from other recent war movies is that it’s about far more than the tragic skirmish that takes place on the snowy mountainside. It’s provocative entertainment that makes you think.
(PERSONAL NOTE: My son, Don Granger, is president of MGM/UA.)

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Bee Movie

Movie/TV Reviews / Susan

Susan Granger’s review of “Bee Movie” (DreamWorks Animation/Paramount)

Call it the curse of high expectations but when Jerry Seinfeld makes his first animated feature, laughs should flow like honey but they don’t – unless you’re really into bee puns.
After college, bumblebee Barry B. Benson (Seinfeld) spends some time with the macho Pollen Jocks before starting work at the factory in New Hive City. Trapped in an apartment, he encounters a friendly florist, Vanessa (Renee Zellweger), who saves him from being annihilated by her boyfriend (Patrick Warburton). Breaking beedom’s code of behavior, Barry talks to her. In return, she shows him how humans buy honey at the store. Feeling exploited, Barry gets so furious about this injustice that he sues humankind.
After a courtroom fight – in which Sting (himself) is accused of stealing his stage name from bee culture – Barry wins, defeating a blustering Southern lawyer (voiced by John Goodman). So honey is taken off the market. Bees lose their production jobs at Honex, flowers don’t get pollinated and all vegetation in Central Park dies. If you’re in a New York state of mind, that spells ecological disaster for the world.
Flitting in the background, there’s a fast-talking mosquito Chris Rock), along with Barry’s pal, Adam (Matthew Broderick), and his parents (Kathy Bates and Barry Levinson) who worry about Vanessa: could she be a WASP? Plus Ray Liotta playing himself.
Forbes magazine reports that comic icon Jerry Seinfeld earns $60 million a year in syndication royalties and from his stand-up gigs, yet he’s the brain and voice of this simplistic yet heavily-hyped effort. Despite the weak writing, the computer animation is often eye-catching, although not up to Pixar standards. On the Granger Movie Gauge of 1 to 10, “Bee Movie” buzzes in as a surreal 6, an amusing 82-minute diversion.

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Before the Devil Knows You’re Dead

Movie/TV Reviews / Susan

Susan Granger’s review of “Before the Devil Knows You’re Dead” (ThinkFilm)

Esteemed director Sidney Lumet (“Serpico,” “12 Angry Men,” “Network,” “The Verdict,” “Q&A”) is still going strong at 83, proving it with this insightful, impeccably crafted crime drama that takes its title from the old Irish toast: “May you be in heaven a half hour before the devil knows you’re dead.”
Beginning with a steamy sex scene between Andy (Philip Seymour Hoffman) and his wife Gina (Marisa Tomei), a film noir about two financially pressured brothers emerges.
Andy’s a shady New York real estate accountant with an expensive drug habit, while his younger brother Hank (Ethan Hawke) is a none-too-bright, divorced loser who owes child support to his ex-wife. Hank’s also having a clandestine affair with Gina.
So when Andy comes up with a plan to heist their parents’ (Albert Finney, Rosemary Harris) suburban jewelry store, Hank goes along with the idea. But Hank brings along a reckless accomplice (Brian F. O’Byrne) and the robbery goes dreadfully awry, adding murder and blackmail to the brothers’ monetary problems.
What makes it so intriguing is that screenwriter Kelly Masterson and director Lumet reveal the family melodrama out of sequence, shifting the audience’s perspective onto each of the characters. Utilizing high-definition technology, Lumet, cinematographer Ron Fortunato and editor Tom Swartwout further augment the tension with close-ups and show the same scenes from different viewpoints. Sure, it’s contrived and there are some loose ends, but the perverse impact is greater than the sum of its parts.
Delivering outstanding performances, Philip Seymour Hoffman dominates anxious Ethan Hawke and vivacious Marisa Tomei, while Albert Finney is subtly menacing. On the Granger Movie Gauge of 1 to 10, “Before the Devil Knows You’re Dead” is a confident, compelling 9 with the moral undertones of classic Greek tragedy.

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Love in the Time of Cholera

Movie/TV Reviews / Susan

Susan Granger’s review of “Love in the Time of Cholera” (New Line)

Few contemporary love stories have captured the public’s imagination as much as Nobel prize-winning author Gabriel Garcia Marquez’s novel, set in the exotic port city of Cartagena at the dawn of the 20th century – and now Mike Newell brings this spellbinding epic to the screen.
Written by Oscar-winner Ronald Harwood (“The Pianist”), photographed by Alfonso Beato and directed with the deft lightness of Newell’s “Four Weddings and a Funeral,” it chronicles the passionate 50-year obsession that consumes Fiorentino Ariza (Javier Bardem).
The story begins with the accidental death of 80 year-old Dr. Juvenal Urbino (Benjamin Bratt). As family and friends comfort his grieving widow, Fermina, (Giovanna Mezzogiono), Fiorentino declares his unrelenting love for her – as their truncated yet intertwined relationship is revealed in flashbacks that are punctuated by a lustrous, anguished undercurrent of suspense – along with three songs by Shakira.
As a naive youth, Fiorentino fell for lovely Fermina at first sight, but her socially-conscious father (John Leguizamo) forbade his courtship, insisting that Fermina marry the highly respected Dr. Urbino. Distraught yet comforted by his devoted mother (Fernanda Montenegro) and given a promising job by his rich uncle (Hector Elizondo), Fiorentiono builds a good life for himself, becoming a wealthy shipowner, while conducting Casanova-like liaisons with 622 women. But he’s patiently biding his time until the now-72 year-old Fermina is, once again, single – and available.
The symbolism of the title is open to several interpretations, comparing the then-prevalent (and fatal) disease with lovesickness; indeed, it becomes pivotal to the symmetry of the metaphorical conclusion. On the Granger Movie Gauge of 1 to 10, “Love in the Time of Cholera” is a fantasy-filled, romantic 8. It’s a faithful adaptation, blessed with equal amounts of humor, pathos and compassion.

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Fred Claus

Movie/TV Reviews / Susan

Susan Granger’s review of “Fred Claus” (Warner Bros.)

It’s like Christmas coming early with this heart-warming gift of a movie, a Santa story you’ve never heard before
Since his baby brother, Nicholas, was born, uttering the word, “Ho,” instead of crying, Fred Claus (Vince Vaughn) has been living in his shadow, hearing his mother’s (Kathy Bates) constant refrain: “Why can’t you be more like your brother?”
Indeed, Nicholas was so good that he achieved sainthood – meaning neither he nor his family ever aged. And, like many unhappy children, Fred became angry and naughty.
Now living in Chicago, Fred has become a ‘repo’ man, trying to start his own off-track betting establishment and get back in the good graces of his long-suffering girl-friend, Wanda (Rachel Weisz). When he calls his brother for a loan, Nicholas (Paul Giamatti) agrees to help Fred only if he’ll come to the North Pole and work in Santa’s Toy Shop.
Meanwhile, with a month to go, the stress of Christmas is increasing – and an evil efficiency expert (Kevin Spacey) has been dispatched to oversee this year’s preparations. The Tooth Fairy and Easter Bunny are endangered – and out-sourcing toy production to the South Pole is under consideration, shutting down Santa’s Workshop permanently.
Set in the Christmas environment, writer Dan Fogelman (“Cars”) and director David Dobkin (“Wedding Crashers”) have fashioned an often-amusing sibling rivalry situation, utilizing wry cameos from other underachieving, once-resentful brothers like Frank Stallone, Roger Clinton and Stephen Baldwin.
Vince Vaughn plays the comedy with pathos, and Paul Giamatti shows the depth of Santa Claus’ vulnerability. While the supporting roles are formulaic, the visual effects are imaginative, particularly the Snow Globe and Naughty/Nice Department. On the Granger Movie Gauge of 1 to 10, “Fred Claus” is a sentimental 7. It’s a bright holiday package filled with pure enjoyment.

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No Country For Old Men

Movie/TV Reviews / Susan

Susan Granger’s review of “No Country For Old Men” (Miramax/Paramount Vantage)

Based on a novel by Cormac McCarthy, this is a wry, metaphorical tale of three macho men: the good guy, the bad guy and the poor Vietnam vet who gets caught in-between, never realizing the fatalistic ramifications of his greed.
Back in the 1980s in the barren desert of the West Texas-Mexico border, a deer hunter, Llewelyn Moss (Josh Brolin), wanders into the bullet-ridden detritus of a drug convoy shootout and picks up a satchel containing $2.4 million, never realizing there’s a tracking device hidden in the cash.
After sending his wife (Kelly Macdonald) to the safety of her mother’s home, Moss is relentlessly pursued by a mysterious, diabolically deadpan assassin, Anton Chigurh (Javier Bardem), who psychologically tortures his victims before dispatching them with a cattle stun gun. Chigurh’s train of bloody carnage has attracted the attention of veteran sheriff Tom Bell (Tommy Lee Jones), who is ready to retire, discouraged by the ever-increasing narcotics crime and its attendant lack of respect and courtesy.
“Any time you quit hearing ‘Sir’ and “M’am,’ the end is pretty much in sight,” he muses.
Writer/directors Joel and Ethan Coen (“Blood Simple,” “Fargo”) incorporate their trademark black comedic touches into this suspenseful, often confusing contemporary Western, as Tommy Lee Jones, Josh Brolin and Javier Bardem (with a haircut off Dutch-Boy paint cans or Prince Valiant cartoons) deliver three of the most memorable screen performances this year.
Several weeks ago, A.O. Scott in the New York Times ruminated on the lasting influence of the graphic violence in Arthur Penn’s 1967 “Bonnie and Clyde;” it’s reflected here in Roger Deakins’ photography. On the Granger Movie Gauge of 1 to 10, “No Country For Old Men” is a brutal, intense 9. It’s an enigmatic, metaphysical mindgame.

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Jimmy Carter: Man From Plains

Movie/TV Reviews / Susan

Susan Granger’s review of “Jimmy Carter: Man From Plains” (Sony Pictures Classics)

Years ago, as a wedding present, dear friends took my husband and me to spend a weekend with Jimmy and Rosalynn Carter. It was a revelation. I had never seen our 39th President in such an informal, approachable setting – and now Jonathan Demme has captured Carter’s sharp intelligence and homespun candor on film.
Demme followed Carter on a 2006 book tour for his controversial “Palestine: Peace Not Apartheid.” This documentary tracks the reaction of both fans and foes, who alternately praise or challenge Carter’s stance on the Israeli-Palestinian conflict, particularly his inflammatory description of the situation as “apartheid,” evoking memories of government-sanctioned segregation in South Africa.
Carter courteously parries accusations of anti-Semitism with interviewers on “Good Morning America,” “Fresh Air,” “The Situation Room with Wolf Blitzer,” and “The Tavis Smiley Show.” While Charlie Rose gets particularly testy, Jay Leno adds levity. Not surprisingly, what infuriates Carter most is negativity from people who haven’t even bothered to read his book.
In addition to presenting a chronicle of Certer’s reactions to the media and outspoken Harvard law professor, Alan Dershowitz, Demme also utilizes fascinating archival material, particularly when Carter brokered the Camp David Peace Accords between Anwar Sadat and Menachem Begin in 1978. Plus there are glimpses of Carter’s evangelical Christian home life in Georgia, including daily Bible readings with Rosalynn.
In many ways, “Man From Plains” resembles “The Agronomist,” Demme’s documentary about the slain Haitian activist Jean Dominique, and Declan Quinn’s digital video camera concentrates far more on the man more than the imagery. On the Granger Movie Gauge of 1 to 10, “Jimmy Carter: Man From Plains” is an insightful 8, exploring the kind of impact a former President can have after leaving the Oval Office.

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