Movie/TV Reviews

Wrong Turn

Susan Granger’s review of “Wrong Turn” (20th Century-Fox)

There are bad movies and then there are inexcusably bad movies. This grim, gruesome, blood-drenched ’70s-style slasher scenario falls into the latter category. The story begins as a yuppie (Desmond Harrington) finds himself stuck on a West Virginia highway en route to a job interview in Raleigh. Impatient, he makes a U-turn and heads down a dirt road where he, literally, runs into a disabled Range Rover and a quintet of twentysomethings (Eliza Dushku, Emmanuelle Chriqui, Jeremy Sisto, Kevin Zegers, Lindy Booth). Bear Mountain Road is obviously the road less traveled – except by an ominous, demented trio of mutant, in-bred mountain men who turn out to be cannibals. Ordinarily, one might be rooting for the protagonists to survive but, in this case, they’re too dense and dimwitted to elicit much sympathy as one-by-one they’re slaughtered. The gals are clad in tight tank tops – the better to jiggle, of course. One guy is so dense that when he finds himself in a decrepit cabin filled with bizarre oddities and disgusting debris, his first impulse is to turn off a spinning record-player. Written by Alan B. McElroy (“Spawn”) and directed by Rob Schmidt (“Crime and Punishment in Suburbia”), it’s strictly bottom-of-the-barrel except when one of the men mutters, “Remember those guys in ‘Deliverance.'” Now that’s perceptive. Otherwise, John Bartley’s cinematography and Elia Cmiral’s music are pedestrian, at best. Credit any shred of interest to four-time Oscar-winner Stan Winston who designed the freakish make-up. On the Granger Movie Gauge of 1 to 10, “Wrong Turn” is a brutal, grisly, gory 1. Bad directions are the least of its problems. Hmmm, I wonder how the West Virginia Board of Tourism feels about this.

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Raising Victor Vargas

Susan Granger’s review of “Raising Victor Vargas” (Samuel Goldwyn Films/Fireworks)

First-time writer-director Peter Sollett scores a solid hit with this coming-of-age story set in the heat of summer on New York’s Lower East Side. With his adolescent hormones aflame, skinny, callous, cocky 16 year-old Victor Vargas (Victor Rasuk) has his heart set on “Juicy Judy” Ramirez (Judy Marte), the prettiest girl in the neighborhood. Their courtship begins at the neighborhood pool in a scene reminiscent of “Raging Bull.” Victor has two younger siblings: a beatific brother (Silvestre Rasuk, the real-life Victor’s younger brother) who “always tries to make the family happy” and a scowling, overweight sister (Krystal Podriguez). But the most memorable character is Victor’s grandmother (Altagracia Guzman) who is determined to raise her grandchildren with Old World values, albeit in a shabby tenement. She’s suspicious of Victor’s macho strutting, viewing him as yet another preening stud in the familial line, particularly when he alludes to the portrait of his late grandfather that hangs in the living room. There’s an indelible moment when Grandma delivers a plaintive monologue about growing up in a family of 14 children on a farm in the Dominican Republic and a hilarious interlude when she tries to palm Victor off on a welfare caseworker for being a bad influence. Using a primarily non-professional cast, 27 year-old Peter Sollett creates the kind of warm-hearted, anecdotal yet truthful story-telling that is often found only in documentaries. He evokes a rarely-seen kind of character authenticity that originated in his student award-winning short film, “Five Feet High and Rising,” which he made while at NYU. On the Granger Movie Gauge of 1 to 10, “Raising Victor Vargas” is an obviously improvised, poignant 8. Victor victorious!

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Coral Reef Adventure

Susan Granger’s review of “Coral Reef Adventure” (IMAX Theater)


Only IMAX cameras have the ability to transport you into outer space and under the seas in an unforgettable giant-screen adventure. This time, you submerge with ocean divers delving into the mystery of why a coral reef near the coast of Fiji is dying. More than a lesson in reef biology, it’s the very personal, real-life story of a husband-and-wife cinematography team, Michele and Howard Hall, who answered the distress call of Fijian scientist Rusi Vulakoro and went on a 10-month journey to create a lasting cinematic record of the reefs as they exist today. The Halls’ first stop was the South Pacific where, using aerial photography, they discovered that a lethal combination of global warming, resulting in a two-degree increase in water temperature; over-fishing; and silt, a result of coastal logging, was covering Rusi Vulkoro’s village reef in a white, ashy blanket of death. Noting that observation is the first step in science, they then went to examine Australia’s protected Great Barrier Reef, where they found thriving corals whose fragile eco-systems are still intact. Coral reefs are over 100 million years old and are Earth’s largest living structures. They provide homes for over 25% of all marine life, yet take up less than 1% of the ocean floor. Coral reefs are a tremendous medical resource, providing chemical compounds used in antihistamines, antibiotics and other treatments ranging from asthma to leukemia and heart disease. Oceanographer Tracey Medway gets up-close-and-personal with an enormous potato cod who opens its mouth to allow a living toothbrush, a tiny wrasse fish, scrub the parasites off its teeth. That’s followed by a deliciously memorable sequence in which scuba-diver Michele Hall opens her mouth wide, inviting the shrimp-like sea creature to crawl inside and clean her teeth! Their final stop was in French Polynesia, where near the Rangiroa atoll they were forced to swim against a powerful current to find an elusive school of more than 300 gray reef sharks clustered in a narrow passage. All-in-all, the Halls made 2,421 dives, logged 2,810 hours underwater and had to spend up to four hours a day decompressing in order to make this film. The underwater footage is stunning. Lush, colorful whip and fan corals sway with the current, like immense flowers in a breeze, eels bare their powerful teeth, huge manta rays glide by, and a busy bulldozer shrimp clears a safe haven for its symbiotic protector fish. Written by Osha Gray Davidson and Stephen Judson, the diverse presentation’s the only weakness is out-of-the-water, where filmmaker Greg MacGillivray (“The Living Sea,” “Dolphins”) stages unconvincing shots of Vulakoro, the Halls and South Pacific children awkwardly interacting. The obviously contrived pathos is even more inopportune when the pressure of a 370′ deep-water dive causes Howard Hall to develop the bends, a potentially fatal build-up of nitrogen and helium bubbles in the blood, and production is halted for six weeks while he recovers in Fiji’s only hyperbaric chamber.  Narrated by Liam Neeson, the cautionary tale flows – with particularly notable crossfades from a map to an ocean vista – and is punctuated by the pop music of Crosby, Stills, Nash and Young. Its conclusion reveals that according to the United Nations’ Global Coral Reef Monitoring Network and Reef Check Network, 10% of the world’s reefs have died within the past four years and nearly a quarter are currently suffering. “Coral reefs are the canary in the coal mine, and the canary is sick and dying,” concludes Jean-Michel Costeau, son of the late oceanographer Jacques Cousteau. On the Granger Movie Gauge of 1 to 10, “Coral Reef Adventure” is a spectacular, exciting 8, delivering a vital ecological message that our coral reefs are in great danger and could cease to exist within the next 30 years.

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2 Fast 2 Furious

Susan Granger’s review of “2 Fast 2 Furious” (Universal Pictures)

Exactly how much do you love the va-va-vroom of a car’s engine? That kind of soul-searching is pivotal to choosing whether this is your kind of movie. While “The Fast and the Furious” was a big hit back in 2001, its dynamic star, Vin Diesel, has left the franchise in the dust for epics like “XXX” and “A Man Apart.” Now it’s model/rapper Tyrese Gibson who’s revving up for street-racing with Paul Walker, who once again plays the disgraced LAPD cop. Written by Michael Brandt, Derek Haas & Gary Scott Thompson and directed by John Singleton, this story finds the ex-cop Walker looking for redemption by going undercover in Miami for the FBI with restless, ex-con Gibson as his thrill-seeking partner. Their mission is to break up a money-laundering cartel run as an import/export business by sadistic Cole Hauser. Unlike the original film, however, there’s a curious, even disconcerting undercurrent of homoerotic tension as the buff protagonists grip the phallic stickshift and writhe in the dirt with their legs entwined. In fact, the camera lingers just as long on Gibson’s well-defined muscles and as it does on the cleavage of curvaceous Eva Mendes, who plays an undercover customs agent whose hot pink attire matches her convertible. Which gets to the turbo-charged crux of the film: the cool candy-colored cars, including a Nissan Skyline GTR, Mitsubishi EVO 7, 1970 Hemi Dodge Challenger, 1969 Yenko Camaro, 1998 BMW M3, 2003 Dodge Viper, Chevy Corvette, 1994 Toyota Supra, 1994 Mazda RX7, 2001 Honda S2000 and 1993 Acura NSX. On the Granger Movie Gauge of 1 to 10, “2 Fast 2 Furious” peels out with a high-octane, low-IQ 4. It’s a wild ride recommended only for chrome-plated adrenaline-junkies.

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Man on the Train

Susan Granger’s review of “Man on the Train” (Paramount Classics)

Patrice Leconte’s comic melodrama begins as Milan (Johnny Hallyday), a grizzled, mysterious man with piercing blue eyes, disembarks from the train in a small, deserted French town. While buying aspirin at a pharmacy, he meets hospitable, garrulous Manesquier (Jean Rochefort), a retired educator, who not only offers water to wash down his headache pills but also a room in his family chateau since the local hotel is closed for the season. As their wary relationship slowly develops, it becomes obvious that taciturn Milan intends to rob the provincial bank, a daring act that refined Manesquier had concocted for many years but only in his fantasies. Because beneath his veneer, Manesquier longs to be Wyatt Earp, while Milan is weary of the nomadic life. And Saturday, when Milan has decided to pull off his bank robbery, is the same day that Manesquier faces open-heart surgery. As the fateful day approaches, each man – the thief and the teacher – reveals unexpected quirks of character that define his destiny. For those not into French culture, Johnny Hallyday is a legendary pop icon (a photo of him in his youth drops out of Milan’s jacket pocket in a kind of homage), while Jean Rochefort is a veteran actor and director Patrice Leconte (“The Girl on the Bridge”) is renown for his poignant, emotionally evocative film-making. This time, Leconte, along with writer Claude Klotz, has created a cerebral Gallic version of the buddy movie, relying on the solemn, modest characters to propel the plot. On the Granger Movie Gauge of 1 to 10, “Man on the Train” is a surreal, ambiguous 8. Winner of the Best Picture Audience Award at the Venice Film Festival, along with the Best Actor Audience Award, it’s in French with English subtitles.

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Hollywood Homicide

Susan Granger’s review of “Hollywood Homicide” (Columbia Pictures)

Working two jobs takes on an absurd new meaning in this irreverent, fast-paced action-comedy. Harrison Ford is a veteran LAPD detective, Joe Gavilan, who doubles as a not-too-successful real estate agent, while his rookie partner, K.C. Calden, played by Josh Hartnett, really wants to be an actor. That’s why it’s hard to keep their focus as they find themselves caught up in the hip-hop music scene while investigating the killing of a rap music group in a local nightclub. While the Ford/Hartnett duo fails to ignite like Chris Tucker/ Jackie Chan in “Rush Hour” or Mel Gibson/Danny Glover in “Lethal Weapon,” credit writer/director Ron Shelton and ex-cop Robert Souza for developing fleshed-out characters as opposed to stereotypical cop buddies. Joe Gavilan’s not only got a drinking habit, three ex-wives to support and a new sexy/psychic girl-friend but he’s operating under the scrutiny of the suspicious Internal Affairs Division. The son of a slain policeman, spiritual K.C. Calden would rather be teaching New Age yoga or rehearsing as Stanley Kowalski in “A Streetcar Named Desire.” Much of the humor derives from the fact that these two men just don’t understand each other. Plus there are strong supporting turns from Lena Olin, Martin Landau, Keith David, Bruce Greenwood and cameos by Eric Idle, Lou Diamond Phillips. Problem is: despite a few zany, amusing moments, the contrived script doesn’t measure up to the off-beat performances. Where there should have been more sharp comedy, there are seemingly-endless sub-plots, chase sequences and car crashes – although it is comic to see Ford hijacking a child’s bike to chase a crook. On the Granger Movie Gauge of 1 to 10, “Hollywood Homicide” is a slick 6, but what it lacks in substance, it makes up for in fun.

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Winged Migration

Susan Granger’s review of “Winged Migration” (Sony Pictures Classics)

A recent Oscar-nominee for Best Documentary, this is an astonishing exploration of the mystery of birds in flight and a plea for ecological awareness and responsibility. Director Jacques Perrin, best known for “Microcosmos” about the insect world, dispatched an international crew of more than 450 people – including 17 pilots and 14 cinematographers – to follow a variety of avian migrations through 40 countries on each of the seven continents over a period of four years. Utilizing planes, helicopters, gliders, balloons and ultra-light aircraft – but no special effects – his cameras follow alongside, above, below and in front of their subjects as they make their annual round-trips. In some cases, that journey covers more than 10,000 miles between the tropics and the Arctic. As the birds adjust to temperature changes, they apparently utilize some sort of instinctive radar, perhaps identifying landmarks – like the Eiffel Tower, Brooklyn Bridge, Arizona’s Monument Valley and Great Wall of China – on their perilous odyssey. Each species is briefly identified and the variety includes Canada geese, snow geese, greylag geese, egrets, macaws, puffins, sandhill cranes, European white storks, black-necked swans, pelicans, bald eagles, black-necked ibises, ducks, robins, albatrosses, Arctic terns and penguins. While the scenic photography is breath-taking and beautiful, as a narrator, Perrin comes up short on facts, figures and explanations. Admittedly, the taking off and landing scenes become a bit repetitive, along with the music of Bruno Coulais and vocals by Nick Cave, Robert Wyatt and a Bulgarian children’s choir. On the Granger Movie Gauge of 1 to 10, “Winged Migration” is a visually poetic, soaring 7. It’s particularly recommended for nature enthusiasts.

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The Hulk

Susan Granger’s review of “The Hulk” (Universal Pictures)

This is a mythic comic-book movie about a man at war with himself and the world. Brilliant scientist Bruce Banner (Australian actor Eric Bana) has so many acute emotional problems that he’s alienated his co-worker/girl-friend, Betty Ross (Oscar-winner Jennifer Connelly). Yet it’s not until he’s accidentally blasted with gamma radiation during a nanotechnology experiment that the mean, green Hulk, who’s lurked inside of him since birth, emerges as Banner’s powerful alter-ego. (“You’re making me angry,” he warns. “I don’t think you’re gonna like me when I’m angry.”) But that’s only the superficial plot. Then there’s a complex, multi-level struggle involving Bruce’s ex-con renegade-scientist father (Nick Nolte) who altered his genetics, Betty’s estranged military-commander father (Sam Elliott) and a larcenous rival researcher (Josh Lucas).  Created by Stan Lee and Jack Kirby, the Hulk first appeared in Marvel Comics in 1962 and spawned a TV series (1977-82) with Bill Bixby and Lou Ferrigno. But it’s taken the lyric sensibility of Oscar-winning director Ang Lee (“Crouching Tiger, Hidden Dragon”) and writer James Schamus to forge an emotional connection between Bruce Banner’s inner turmoil and his repressed childhood memories and to invent a poignant ending that invites a sequel. Stylistically, Ang Lee adroitly utilizes montage sequences and splits the screen into panels, showing several images at once. And while ILM’s 15′-tall, rage-filled Hulk is reminiscent of King Kong, don’t expect a CGI character with the depth of the Gollum in “Lord of the Rings.” On the Granger Movie Gauge of 1 to 10, “The Hulk” is an unexpectedly intense, engaging 9. It’s not only this summer’s blockbuster creature-feature but it also cleverly fuses pop culture with psychodrama.

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Alex & Emma

Susan Granger’s review of “Alex & Emma” (Warner Bros.)

Kate Hudson is Hollywood’s newest Golden Girl whose face adorns numerous magazine covers, and sexy Luke Wilson’s wry smile has set hearts a-flutter both on and off the screen. So why they chose this only moderately amusing romantic comedy is, indeed, a mystery. Structured like “Adaptation,” but without the orchid-hunter, it’s the story of an eccentric writer, Alex (Wilson), whose gambling debts have led to the destruction of his computer and endangered his life. In order to pay off Cuban Mafia thugs in 30 days, he must finish his novel about the powerlessness of being in love. So he hires a stenographer, Emma (Hudson), who has her own ideas about his fictional characters. Soon their life in Boston begins to imitate the art he’s creating. Set in 1924, the novel-within-the-movie is about a teacher, Adam (Wilson), who takes a sabbatical from Andover to travel to St. Charles island to tutor the children of a frivolous, French fortune-hunter Polina Delacroix (Sophie Marceau), who finds him fascinating. But he’s also attracted to her alluring au-pair (Hudson). Which woman will he choose? According to director/producer Rob Reiner, screenwriter Jeremy Leven (“The Legend of Bagger Vance”) loosely based the idea on the real-life drama that propelled Fyodor Dostoevsky’s writing of “The Gambler.” Like Alex, Dostoevsky was a bettor who fell in love with his stenographer. In their various incarnations, both Kate Hudson and Luke Wilson are engaging, and I suppose if there hadn’t been Charlie Kaufman’s “Adaptation,” the off-beat concept would have been innovative. On the Granger Movie Gauge of 1 to 10, “Alex & Emma” is a sweet if insipid 5. A romantic triangle-times-two equals only a moderately captivating date movie.

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Caesar

Susan Granger’s review of “Caesar” (four-hour TNT mini-series: June 29th and 30th)

Julius Caesar is one of history’s most fascinating and flawed figures. Filled with boundless ambition, his self-glorifying military exploits were legendary, as were his romantic liaisons. Finally, however, he was felled by his arrogance. This epic four-hour mini-series explores his background, his obsessive behavior and what led to his demise. A great leader, his commitment to politics compromised his personal life, which has a compelling contemporary relevance. The story begins as the tyrannical Sulla (Richard Harris) crowns himself King of Rome, launching a dictatorship distasteful to brooding young Julius Caesar (Jeremy Sisto), a champion of social reform. In the Senate, Cato (Christopher Walken) is Caesar’s harshest critic and Mark Antony (Jay Rodan) is his trusted cohort, while Brutus (Ian Duncan), married to Cato’s daughter (Kate Steavenson-Payne), is his friend-turned-betrayer. Pompey (Chris Noth), Sulla’s General, is Caesar’s ally, marrying Caesar’s daughter (Nicole Grimaudo), before becoming his arch-enemy. Cornelia (Daniela Piazza) is Caesar’s 1st wife, while Calpurnia (Valeria Golina) is his 3rd wife. Written by Craig Warner and Peter Pruce, directed by Uli Edel, this complicated character-study devotes too much time to the Gallic Wars and too little to political intrigue, particularly Caesar’s self-destructive involvement with Egypt’s Queen Cleopatra (Samuela Sardo). While the gruesome battle scenes are impressive, the choppy continuity is disconcerting and the make-up is remarkably unflattering. On the Granger Movie Gauge of 1 to 10, “Caesar” is a curious 5 as Cliff Notes of ancient history. On TNT, Part I premieres at 8 p.m. on Sun., June 29th, with Part II at 8 p.m. on Mon., June 30th. Encores are scheduled at various times during those two days.

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