Movie/TV Reviews

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

Taking his turn at an early summer popcorn picture, Nicholas Cage plays a ‘pre-cog,’ a man with the uncanny power to see two minutes into the future.
Clad in a velvet tux with a ruffled seafoam-green shirt, Cris Johnson (Cage) is a run-of-the-mill Las Vegas lounge magician. Tormented by his extraordinary ability and sick of the examinations he underwent as a child, he’s chosen anonymity, using the name Frank Cadillac and living off his minimal blackjack “winnings.” (He sees the cards that are coming and bets accordingly.) That is – until an Eastern European terrorist group threatens to detonate a dirty nuclear device in Los Angeles and FBI agent Callie Ferris (Julianne Moore) tries to convince him to use his extraordinary talent for precognition to stop the inevitable catastrophe. He’s dubious about the advantage of a 120-second warning, but when he uses his visions to avert a shooting during a casino robbery, he becomes a fugitive, picking up Liz Cooper (Jessica Biel) who teaches underprivileged kids at a school at the bottom of the Grand Canyon. They careen through the Arizona desert, evading both the FBI and a band of assassins who are determined to kill him before he can help the feds.
While ostensibly adapted from the 1954 Philip K. Dick sci-fi story, “The Golden Man,” the updated screenplay, credited to Gary Goldman, Jonathan Hensleigh and Paul Bernbaum, veers in a totally different direction. Director Lee Tamahori (XXX: State of the Union”) relies on formulaic crashing cars and a landslide for fast-paced action – and Liz gets strapped with explosives. Oh, yeah, and that’s Peter Falk popping in as Cris’ mentor. On the Granger Movie Gauge of 1 to 10, “Next” is a predictable, implausible 3, a silly seer-tale. Consider this your two-minute warning.

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Snow Cake

Movie/TV Reviews / Susan

Susan Granger’s review of “Snow Cake” (IFC First Take)

Sigourney Weaver’s piercing portrayal propels this distinctive, often comedic picture about a high-functioning autistic.
Set in the isolated, snow-covered town of Wawa in Northern Ontario, Canada, the story begins with Alex Hughes (Alan Rickman), an urbane, introspective, misanthropic Brit en route to Winnipeg, who reluctantly picks up a vivacious teenage hitchhiker, Vivienne (Emily Hampshire), who is subsequently killed when an 18-wheeler crashes into his car.
Guilt-ridden, he seeks out her mother Linda (Sigourney Weaver), who shrugs off her daughter’s death and invites Alex to play on her trampoline. Though blameless, Alex feels some sense of obligation, having to do with the death of his own son and his recent parole from prison, so he agrees to stay until after the funeral. Then, too, there’s the lonely neighbor (Carrie-Anne Moss), who welcomes Alex into her bed.
Written by Angela Pell, whose plot revolves on contrivance and coincidence, and directed by Marc Evans, it radiates sensitive authenticity. Eschewing the “Rain Man” concept of the autistic savant, Weaver’s vividly intriguing performance varies from anguished (when the exact order of her house is changed by unwitting visitors) to exuberant (when playing with a sparkly toy). But at no time does she emotionally acknowledge the death of her daughter – and Rickman counters with subtle intelligence.
From “Oprah” to “The View” to “Larry King Live” to “Boston Legal,” on which one of the leading characters has Asperger’s syndrome which curbs social interaction, autism has come into focus recently. No wonder – since the disorder now affects one in every 150 children, 10 times the rate of the 1980s, according to the Centers for Disease Control and Prevention. On the Granger Movie Gauge of 1 to 10, “Snow Cake” is a multi-layered, resonant 7. It’s poignant and powerful.

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Georgia Rule

Movie/TV Reviews / Susan

Susan Granger’s review of “Georgia Rule” (Universal Pictures)

If this dysfunctional three-generational drama/comedy is Hollywood’s Mother’s Day gift, the motion picture business is in worse shape than I thought.
Rachel Wilcox (Lindsay Lohan) is a sassy, seductive, rebellious teen who is exiled to spend the summer with her no-nonsense grandmother Georgia (Jane Fonda) in Hull, Idaho, when Lilly (Felicity Huffman), her alcoholic mother, can no longer cope with her.
Rhyming with dull, Hull is a rural Mormon town where everyone says “Good Morning,” children are well mannered and teens don’t drink, smoke, blaspheme, take drugs or have sex until they’re married. Furthermore, Georgia’s household runs by strict rules. While she wasn’t a good mother to Lilly, Georgia gets a second chance with Rachel, who reveals a secret that can make or break the family.
Lindsay Lohan made headlines when she failed to show up for work and was publicly reprimanded, but she’s pitch-perfect. The problem lies in Mark Andrus’ character-driven script, an unsettling mixture of insight and uncertainty, and while the cynical dialogue can be wryly amusing, it’s rarely realistic. Garry Marshall’s direction is unevenly paced and surprisingly derivative. The scene where people are fighting on Georgia’s front lawn and she tries to break it up by wetting them down with a garden hose is straight out of Jodie Foster’s “Home for the Holidays.”
Felicity Huffman accesses fragile Lilly’s confusion, and Jane Fonda shows true grit after her “Monster-in-Law” debacle. Cary Elwes, Dermot Mulroney and Garrett Hedlund lend oddball male support but, dramatically, the movie is only a step up from a flop. On the Granger Movie Gauge of 1 to 10, “Georgia Rule” is a convoluted, contrived, clichŽ-ridden 5, evoking Robert Frost’s “Home is the place where, when you have to go there, they have to take you in.”

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The Year of the Dog

Movie/TV Reviews / Susan

Susan Granger’s review of “The Year of the Dog” (Paramount Vantage)

One of life’s tragedies that we all face is surviving a pet. That’s the subject of this quirky, tender puppy-love comedy by writer Mike White, making his directorial debut.
While shy executive assistant Peggy (Molly Shannon) dutifully puts up with her heartless, spineless boss (Joseph Pais), her sex-obsessed co-worker (Regina King), her obsessive brother (Tom McCarthy) and his fashion-conscious, uptight wife (Laura Dern), she finds herself totally isolated when her precious beagle Pencil strays away and eats something toxic.
Grief-stricken and love-starved, she has dinner with a boorish macho neighbor (John C. Reilly), only to discover that he shot his own dog while they were hunting moose. Then one day she gets a call from Newt (Peter Sarsgaard), an androgynous, vegan animal-rights activist who works at the vet, and he inquires if she’s be interested in adopting a rescued dog before the city of Los Angeles puts him down. She is – and does – but that’s only the beginning. Before long, she’s inundated with abused, abandoned death-row pooches, only to discover, at long last, what truly makes her happy.
Mike White – who wrote and acted in “School of Rock,” “The Good Girl,” “Chuck and Buck” – hasn’t quite decided whether this is a character study of wild-eyed zealotry, a farce or a humorous sitcom, so the pacing is uneven. But Molly Shannon’s minimalist performance as a distraught woman pushed over the edge is wonderful. After six seasons on “Saturday Night Live,” she deftly taps into Peggy’s anguish, desperation and neediness – never giving a hint that, off-screen, she’s actually allergic to dogs. On the Granger Movie Gauge of 1 to 10, “The Year of the Dog” is a semi-satirical, sentimental 7. For dog lovers, it could be a best-in-show.

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28 Weeks Later

Movie/TV Reviews / Susan

Susan Granger’s review of “28 Weeks Later” (20th Century-Fox)

This grisly follow-up to the horror hit “28 Days Later” continues the zombie infestation and plants the seed for a third installment.
In the opening sequence, Don (Robert Carlyle) and his wife Alice (Catherine McCormack) have sought shelter and are sharing a meager meal with a few other survivors when, suddenly, zombies invade. Don flees in terror while Alice is left behind.
Britain has been quarantined since its population was decimated by a mysterious virus. London is occupied by U.S.-led NATO troops, and the country is declared “free” of infection. Reconstruction and repatriation begin and, 28 weeks later, evacuees are allowed to return to a restricted zone.
Among the arrivals are Don and Alice’s children: Andy (Mackintosh Muggleton) and Tammy (Imogen Poots). Unwilling to admit that he abandoned their mother, Don tells a revisionist version of the episode. But when the kids sneak out to visit their home, they find Alice cowering in the attic. She’s “infected” but not exhibiting any zombie rage. Obviously, the scourge is not over and an American doctor Scarlet (Rose Byrne) thinks her blood – and Andy’s – contain an immunity that could generate a vaccine. Helped by Marines (Jeremy Renner, Harold Perrineau), Scarlet and the kids are on the run, pursued by a military firestorm and enraged zombies.
While Spanish director Juan Carlos Fresnadillo, along with Rowan Joffe (son of director Roland), Alex Garland and Danny Boyle introduce a new cast of characters, they’re thinly drawn and subservient to the tension-filled atmosphere, filled with dread and foreboding, a result of inventive cinematography and production design. On the Granger Movie Gauge of 1 to 10, “28 Weeks Later” is a gruesome, suspenseful 7 that could be interpreted as timely commentary on U.S. overconfidence in Iraq.

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Shrek the Third

Movie/TV Reviews / Susan

Susan Granger’s review of “Shrek the Third” (Paramount/DreamWorks)

That lovable green ogre’s back. He’s still irascible and endearing – but, somehow, this incarnation lacks some of the clever originality that made his predecessors so irresistible.
In the first film, Shrek (Mike Myers) and Princess Fiona (Cameron Diaz) fell in love and got married. In the second, they met the parents – the King (John Cleese) and Queen (Julie Andrews), along with vengeful Prince Charming (Rupert Everett).
Now Shrek’s not only about to become a father but also rule as king – with help from old friends like wisecracking Donkey (Eddie Murphy) and feisty Puss in Boots (Antonio Banderas) – and new additions like Fiona’s half-brother Arthur, an underachiever known as Artie (Justin Timberlake), New Age-y Magician Merlin (Eric Idle), Lancelot (John Krasinski), Capt. Hook (Ian McShane), plus the feminist Princesses: Sleeping Beauty (Cheri Oteri), Snow White (Amy Poehler), Rapunzel (Maya Rudolph) and Cinderella (Amy Sedaris). And I didn’t even get to Larry King and Regis Philbin as ugly stepsisters.
“I’m an ogre. I’m not cut out for this,” Shrek grumbles, yearning to return to his swamp hovel. But, of course, he rallies to the daunting task ahead.
Screenwriter/director Chris Miller makes his directing debut, working with co-director Raman Hui and writers Jeffrey Price & Peter S. Seaman, along with Aron Warner – and the animation is glorious. But the fast-paced blending of classic fairy tale characters with campy contemporary culture just isn’t quite as adventurous or amusing here. Even Donkey isn’t as outrageous. Perhaps it’s all become too familiar. Yet there are funny moments – just not as many as before. On the Granger Movie Gauge of 1 to 10, “Shrek the Third” is an ornery, more ordinary 8. But since “Shrek 4” and even “Shrek 5” are underway, there should be lots more Happily-Ever-After ahead.

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Brooklyn Rules

Movie/TV Reviews / Susan

Susan Granger’s review of “Brooklyn Rules” (City Lights Pictures)

New York’s borough of Brooklyn – circa.1985 – is the setting for this story of friendship, loyalty and sacrifice.
The narrator, Michael (Freddie Prinze Jr.), an amiable con man, has scammed his way into the pre-law program at Columbia University. His intention is to get out of Brooklyn, leaving its mob violence behind forever. Not surprisingly, he ignites a romance with a classmate (Mena Suvari of “American Beauty”) whose social antecedents stretch from Manhattan’s Upper East Side to Connecticut.
But Michael’s two closest friends have their roots firmly planted. Vain, handsome Carmine (Scott Caan) is intrigued by the powerful Mafia lifestyle, particularly the patronage of Caesar Manganaro (Alec Baldwin), the ruthless wiseguy who controls their neighborhood. And pudgy Bobby (Jerry Ferrara of “Entourage”) is a devoutly religious yet dimwitted cheapskate who wants nothing more than to marry his fiancŽe and land a secure job as a postal clerk.
Written by three-time Emmy winner Terence Winter (“The Sopranos”), photographed by Richard P. Crudo and well-paced by director Michael Corrente (“Outside Providence,” “American Buffalo”), it exudes cultural authenticity and, surprisingly, heart. These flesh-and-blood men have been buddies since kindergarten and their evolving relationship, shown through flashbacks, propels the narrative.
One haunting childhood incident is particularly revealing of their priorities. As youngsters roaming the shoreline, they discover a car whose driver has been shot in the head; curious but not repelled, they each steal a souvenir. One takes the victim’s cigarettes and lighter from the dashboard, another gingerly lifts a handgun from the glove compartment, and the third totes home a beagle puppy from the back seat.
With a sensitive ensemble cast, on the Granger Movie Gauge of 1 to 10, “Brooklyn Rules” is an edgy, insightful 7 – with the subtle shadings of a watercolor.

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Bridge to Terabithia

Movie/TV Reviews / Susan

Susan Granger’s review of “Bridge to Terabithia” (Disney/Buena Vista)

It’s always risky to dramatize a beloved children’s book, particularly one that ignites a young reader’s imagination – but Disney does it brilliantly! It’s the first “must see” movie of 2007.
Sixth-grader Jess Aarons (Josh Hutcherson) has been practicing all summer to be the fastest kid in school. But in a race, he’s beaten by a tomboy, Leslie Burke (AnnaSophia Robb), who’s just moved in nearby. While they’re both tormented at school and ride home on the same bus, Jess and Leslie couldn’t be more different.
Saddled with three sisters, Jess is a quiet, country kid whose parents (Robert Patrick, Katrina Cerio) are struggling financially. His only outlet is a passion for drawing. In contrast, Leslie’s a free-spirited only child; her parents are well-to-do fiction writers who encourage her imaginative play.
“Just close your eyes and keep your mind wide open,” Leslie tells Jess – and that’s the creative plane on which Jess and Leslie become friends. Together, they devise a fanciful forest kingdom called Terabithia with whimsical creatures: fairylike Dragonflies, Hairy Vultures, Giants, and Squogres (squirrel-like ogres that resemble the school bullies).
Based on multiple Newbery Award-winning Katherine Paterson’s best-seller, it’s been astutely adapted by her son, David Paterson, and Jeff Stockwell who expand the complex, metaphoric scope while maintaining the novel’s respect for creativity and positive values.
Hungarian director Gabor Csupo (“The Simpsons,” “Wild Thornberrys”) delicately grounds this reality-based, coming-of-age story, utilizing just the right amount of Weta Digital fantasy so as not be overwhelming. The acting is top-notch; six year-old Bailey Madison enchants as Jess’s tag-along little sister. On the Granger Movie Gauge of 1 to 10, “Bridge to Terabithia” is an enchanting 10, the most heartwarming family film since “Stand By Me,” “October Sky” and “E.T.: The Extra-Terrestrial.”

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Hannibal Rising

Movie/TV Reviews / Susan

Susan Granger’s review of “Hannibal Rising” (MGM/Weinstein)

Ever wonder how Hannibal Lecter became Hannibal the Cannibal? This prequel, written by novelist Thomas Harris, attempts to answer your questions in disturbing detail.
It begins in Lithuania in 1944, when historic Lecter Castle is abandoned to the Nazis as the aristocratic family takes refuge in their hunting lodge. Everyone is killed except young Hannibal (Aaron Thomas) and his little sister Mischa (Helena-Lia Tachovska), whom five savage militiamen (Rhys Ifans, Kevin McKidd, Richard Brake, Stephen Walters, Ivan Merevitch) boil and eat. Somehow, Hannibal manages to survive these and other atrocities.
Flash forward eight years: Hannibal (Gaspard Ulliel) escapes to the West and makes his way to the outskirts of Paris, where he’s reunited with his last living relative, a scheming Japanese aunt, Lady Murasaki (Gong Li). Hannibal studies medicine but grisly revenge is uppermost on his mind and a local police inspector (Dominic West) is on his trail.
Under the slick direction of Peter Webber (“The Girl With a Pearl Earring”), French actor Gaspard Ulliel oozes creepy charm in the role immortalized by Anthony Hopkins but there’s an obvious disconnect in continuity and credibility. The Hannibal Lecter we’ve come to know and love is a deliciously evil madman who must be muzzled when he’s not devouring human flesh with good Chianti, while this maniacal Hannibal is a victim of circumstance. And the psychobabble sympathy card doesn’t play well here.
On the Granger Movie Gauge of 1 to 10, “Hannibal Rising” is a tarnished 2. Back in February, 1991, I went way out on a limb, predicting “The Silence of the Lambs” would be the Best Picture of that year – now it’s not too difficult to consider that this could be one of the worst of this year.

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Music and Lyrics

Movie/TV Reviews / Susan

Susan Granger’s review of “Music and Lyrics” (Warner Bros.)

Given the unpredictable origins of contemporary music, it’s not difficult to understand why a pop princess would ask her childhood idol to write and record a duet with her.
So Alex Fletcher (Hugh Grant), this callow, unflappably good-natured, washed-up ‘80s rock star who’s been reduced to working the nostalgia circuit at high school reunions and amusement parks, faces a dilemma. He hasn’t written a song in years, he’s never attempted lyrics and his career depends on him coming up with a hit in just a few days.
Knock, knock. At his door appears ditsy Sophie Fisher (Drew Barrymore), there to water his plants, a task many New York apartment dwellers seem unable to manage. She’s an insecure writer on the rebound from a bad relationship with a newly famous novelist (Campbell Scott). After this “meet cute” introduction, they begin to collaborate.
Hugh Grant is flat-out funny, exuding an irresistible playfulness. His timing is impeccable, his expressions priceless. Drew Barrymore is engaging and vulnerable – if, occasionally, cloying in her idiosyncrasies. Indeed, their relationship doesn’t really take off until he finally gets fed up with her perpetual pity-party. But when they’re bantering, there’s a paradoxical kind of liberation for both of them.
Writer/director Marc Lawrence (“Two Weeks Notice”) seems to have a flair for ephemeral romantic comedy, particularly sardonic dialogue, but wastes his supporting players. As Alex’s loyal manager, Brad Garrett has too little to do and Kristen Johnson is annoying, besides being too big to be believable as diminutive Drew’s sister. As the young, Buddhism-obsessed singing sensation Cora Corman (think Britney/Christina/Shakira), newcomer Haley Bennett is sweetly spacey and serene. So on the Granger Movie Gauge of 1 to 10, “Music and Lyrics” is a singin,’ swingin’ 7, an indubitably delightful date movie.

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