Movie/TV Reviews

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

    All about the futility of wish fulfillment, this is Robert Rodriguez’s best family film since “Spy Kids.”

    Set in the suburban town of Black Hills, the story revolves around nerdy 11 year-old Toe Thompson (Jimmy Bennett), nicknamed “metal mouth” because of his braces. He’s in the depths of despair because he’s ruthlessly picked on by classmates Helvetica (Joie Vanier) Black and her brother Cole (Devon Gearhart). Bullying runs in the family, since the Black siblings’ father (James Spader) is the ruthless CEO of Black Box Industries, where Toe’s workaholic parents (Leslie Mann, Jon Cryer) are forced to compete against one another in research-and-development.

    Toe’s life changes completely when he finds a mysterious Rainbow Rock that has the power to grant wishes. But he’s not the only one who gets his hands on the colorful stone. Actually, the Short brothers – Loogie (Trevor Gagnon), Lug (Rebel Rodriguez) and Laser (Leo Howard) – find it first, creating neighborhood chaos when they wish for a stone fortress, guarded by venomous snakes and ravenous crocodiles that can walk on their hind legs – not to mention a never-ending supply of chocolate bars. Holy peanut-butter cups! Things get even weirder when germ phobic Dr. Noseworthy (William H. Macy) and his son (Jake Short) are forced to battle The Big, Bad Booger.

    Told out of chronological order in interwoven snippets, it’s a cautionary fable, filled with developmental wisdom like “Friends can’t be wished into existence; you have to work for them.” And adult advice, like texting doesn’t replace talking insofar as relationships go.

    Robert Rodriguez is writer/director/cinematographer/editor/composer and CG-visual effects creator. As father of five children, he credits his son Rebel for the idea after watching “The Little Rascals,” noting, “When my kids want to show me something funny on TV, they’ll use the DVR to speed up the good parts so I see the story zipping by. Once they have me hooked, they’ll circle back and show me the middle, rewinding to the start.”

    On the Granger Movie Gauge of 1 to 10, “Shorts” is a small-fry 7, filled with hilarious fun that kids will love.

Susan Granger’s DVD/VIDEO UPDATE for week of Friday, August 21:

   For comedy: “Wedding Bros” with Dan Fogler, Brendan Sexton III and Zoe Lister-Jones delves into the zany world of wedding videography, where wild ‘n’ crazy brides and nervous grooms run amok. And Carrie Fisher’s made-for-TV movie, “These Old Broads,” reunites Shirley MacLaine, Joan Collins and Debbie Reynolds as three aging stars who attempt to revitalize their careers.

   Michael Jackson’s “The Trial and Triumph of The King of Pop” was timed to ignite interest in the superstar’s highly anticipated European tour but now the 78-minute film serves as another memorial and upbeat view of his extraordinary talents and turbulent life.

    Even if you’re intrigued by the horror genre, avoid Dennis Iliadis’ repugnant remake of Wes Craven’s 1972 “The Last House on the Left” with its excessive sexual violence and graphic gore, as two young women (Sara Paxton, Martha Macisaac) are captured and tormented by an escaped convict and his demented buddies.

    Perfectly timed to ease the concerns of both kids and parents, “LeapFrog: Let’s Go to School” finds Tad and Lilly preparing for the first day of class, learning phonics, counting, days of the week and animals. And – whether learning to speak for the first time or facing delayed speech and language development – children have an invaluable new tool to start talking with the “Kidwinks” inter-active development series, created by a speech pathologist, a music therapist and an art therapist.

    PICKS OF THE WEEK – aimed at ‘tween girls: “Hannah Montana: The Movie,” stars Miley Cyrus as Miley Stewart and her pop-star alter-ego, Hannah Montana. The dramatic dilemma that Miley/Hannah faces is her lack of time for friends and family, so her dad (Billy Ray Cyrus) totes her back to Crowley’s Corners, Tennessee, for a much-needed reality check and celebrity ‘detox’ on her grandma’s farm. For adults, “The Golden Boys” stars Rip Torn, Bruce Dern and David Carradine as retired sea captains on Cape Cod, circa 1905. Filled with magical moments, it’s a quaint, high-spirited romp as they meet strong-willed Mariel Hemingway in their search for a First Mate to care for them.

Susan Granger’s review of “The Time Traveler’s Wife” (Warner Bros.)

    Some books translate well to the screen. Others don’t. This falls in the latter category.

    Tracing its fantasy antecedents back to supernatural romances like “Somewhere in Time,” “Peggy Sue Got Married,” “Ghost,” “Kate and Leopold,” “The Lake House,” even “The Curious Case of Benjamin Button,” it focuses on the love affair between elusive librarian Henry DeTamble (Erica Bana) and artist Clare Abshire (Rachel McAdams). Clare first meets Henry in her garden when she is only six years-old. He’s a grown man – stark naked, hiding in the shrubbery – and she’s a child who comes to adore him. Over the years, he randomly visits her often and always naked, so she stashes some of her father’s old clothes in the bushes for him to wear. Bizarre? Yes. Believable? No.

    When they’re both in their twenties, they meet again in Chicago’s Newberry Library. Eventually, Henry explains how, when he was a child, he discovered after a fiery car crash in which his opera-star mother (Michelle Nolden) died that he has a genetic “chrono-impairment” condition that catapults him involuntarily backwards and forwards in time, incidentally losing all of his clothing en route. The anomaly gets worse when he’s stressed. And who wouldn’t be stressed, continually feeling compelled to disappear and appear again in chronological confusion in the nude? Along with his attire, his money also evaporates, compelling Henry to shoplift and steal.

    Considering its enduring popularity, Audrey Niffenegger’s 2004 novel must have transcended the illogical, inconsistent strictures that bind Bruce Joel Rubin’s melodramatic adaptation firmly to the realm of confusing mediocrity. Buffed-up Eric Bana, who almost stole “Funny People” out from under Adam Sandler (even though he only appeared in the final quarter of the film), and luminous Rachel McAdams (“The Notebook”) generate zero chemistry. Heavy-handedly directed by Robert Schwentke (“Flightplan”), it’s almost as if they were occupying different timelines even when they appear in the same scene together.

    On the Granger Movie Gauge of 1 to 10, “The Time Traveler’s Wife” is a frustrating 4, a creepy, convoluted chick-flick.

Susan Granger’s review of “Ponyo” (Walt Disney Pictures)

    From 68 year-old Japanese animation master Hayao Miyazaki (“Howl’s Moving Castle,” “Spirited Away”) comes “Ponyo” (pronounced PON-yo), the most delightful, family film that you’ve probably never heard of.

    Loosely inspired by Hans Christian Andersen’s “The Little Mermaid,” it’s an imaginative fable about a willful, mischievous young goldfish named Ponyo (voiced by Noah Cyrus, Miley’s younger sister), who yearns to be a real girl. She’s watched over by her overly-protective sorcerer father, Fujimoto (voiced by Liam Neeson), who was once a man and now lives underwater in a self-contained bubble, despising humans for the destruction they’ve wreaked upon the ocean.

    “Humans are disgusting,” he says, resentful of their trash and debris.

    One day, Ponyo sneaks off and rides to the surface on a jellyfish, laughing fearlessly as she runs atop the turbulent waves during a typhoon. But when she’s inadvertently trapped in a glass jar and nearly dies, Ponyo is saved by intrepid five year-old Sosuke (voiced by Frankie Jonas, a younger sibling of those musical Jonas Brothers), who is adored by the elderly residents (voiced by Cloris Leachman, Betty White and Lily Tomlin) of the nursing home where his mother Lisa (voiced by Tina Fey) works as his father Koichi (voiced by Matt Damon) pilots cargo ships. Even before she magically becomes human, Ponyo and her friend Sosuke establish a strong bond of love and trust – which is tested when a gigantic flood threatens their town and only Ponyo’s sea goddess mother, Gran Mamare (voiced by Cate Blanchett), can restore nature’s balance.

    Ever mindful of the environment, Hayao Miyazaki gently but resolutely gets across his message – that, in order to survive, humans must respect and take responsibility for protecting the natural world. Already a big hit in Japan, it’s been adroitly adapted for American audiences by screenwriter Melissa Matheson (“E.T.”) with vocals directed by John Lesseter (“Toy Story”) and Joe Hisaishi’s lush musical score.

    On the Granger Movie Gauge of 1 to 10, “Ponyo” is a visually stunning, enchanting 8, a fantastical, sweet-natured charmer that’s bound to delight children and adults alike.

Susan Granger’s review of “District 9” (TriStar Pictures/Sony)

     “Lord of the Rings” director Peter Jackson produced this edgy, provocative sci-fi thriller in which aliens are brought to Earth after their enormous spaceship stalls, hovering ominously over Johannesburg for 20 years. Muddled and malnourished, its tall, insect-like inhabitants are transported from their craft to live in squalor, confined in a filthy shantytown called District 9. Their fate is placed in the hands of government bureaucrats who dismissively refer to them as “prawns” because of their resemblance to giant crustaceans. Starved and segregated from humans, they begin to multiply and, eventually, pose a threat to South Africa’s capitol city, particularly since superstitious Nigerians have taken to feasting on prawns, believing this act of consumption will endow them with supernatural powers.

    That’s when a blithering Afrikaaner bureaucrat, Wikus van der Merwe (Sharlto Coplay), is placed in charge of evicting the refugees – by force, if necessary – to a distant location, known as District 10. But complications occur when Wikus discovers a canister of mysterious fluid which he accidentally sprays on himself, only to discover to his horror that he’s gradually turning into a prawn. Hunted by his employer, Multi-National United (which has been conducting secret medical experiments on aliens), because his craw-like arm can now operate a mysterious intergalactic weapon, Wikus is befriended by a prawn called Christopher (utilizing stop-motion capture by actor Jason Cope) and his child who are embarking on a secret mission.

    Jackson’s protégé, first-time director Neill Blomkamp not only tells a grim, compelling tale (which he co-wrote with Terri Tatchell) in a satirical mockumentary style but creates genuine compassion for the CGI creatures inventively designed by New Zealand’s WETA Workshop (co-founded by Jackson), executed by Vancouver’s Image Engine and photographed by Trent Opaloch. Eventually, the cat-and-mouse game takes over with all-too-numerous chase-and-shoot sequences, culminating in a ‘Transformers”-like robot battle – with additional familiar touches from “E.T.,” “Alien,” “Iron Man” and “Starship Troopers.”

    On the Granger Movie Gauge of 1 to 10, “District 9” is a savvy, explosive 8, serving as a pop allegory for the racial tension of apartheid.

Susan’s DVD/Video Update for week of Friday, August 14:

Oscar-nominated as Best Foreign Film, Laurent Cantet’s “The Class” is about a dedicated Parisian public school teacher who tames relentlessly resistant ethnically diverse students – many of African or Caribbean descent – by adjusting his lesson plan to include self-portraits, an edgy concept reminiscent of “Freedom Writers.”

In  “I Love You, Man,” one of the most popular of the recent “bromances” about one man wooing a fellow male for the purpose of becoming friends. Paul Rudd is about to marry Zooey (Rashida Jones) when he realizes he has no ‘best man’ so he embarks on a mission to audition prospective buddies.

Eric McCormack stars in “Alien Trespass,” a sentimental, self-conscious spoof of ‘50s creature features, created by longtime “X-Files” producer R.W. Goodwin; the most amusing moments occur in the faux-newsreel prologue, which claims the footage was shot in 1959 and shelved.

In Zach Cregger and Trevor Moore’s idiotic comedy, “Miss March,” they play odd-couple best friends who embark on a road trip to the Playboy Mansion, where Hugh Hefner advises, “You don’t need to find a bunny. Find the bunny in every girl.”

Based on actual events, Lori Petty’s directorial debut “The Poker House” focuses on small town life in Iowa, circa 1976, and on three sisters (Jennifer Lawrence, Chloe Grace Mortez, and Sophia Bairley) living with a drug-addicted mother (Selma Blair) in a brothel, drug Mecca and gambling oasis for local squatters.

For rugrats, “Barney: Sharing is Caring” celebrates generosity in a day of giving, inspiring Barney and his friends to donate their old toys.

PICKS OF THE WEEK – from the sublime to the ridiculous: In “The Soloist,” Robert Downey Jr. and Jamie Foxx team up as a Los Angeles Times reporter and a homeless musical prodigy; filled with memorable moments, this is an exquisitely acted, beautifully written, sensitively filmed story that, hopefully, will be remembered for the 2010 Oscars.. In “17 Again,” Zac Efron plays a younger version of Matt Perry in a timeless, universal wish-fulfillment body-swap comedy/fantasy that’s executed with a light touch and incredulous tenderness.

Susan Granger’s review of “Julie & Julia” (Sony/Columbia Pictures)

Whether you like to cook or just enjoy eating, this gastronomic delight joins the pantheon of culinary-themed films like “Babette’s Feast” and “Eat Drink Man Woman,” interweaving two stories about creatively frustrated women who find professional fulfillment and, eventually, fame through cooking and writing about food.

When Julia Child (Meryl Streep) arrives in Paris in 1948 with her diplomat husband, Paul (Stanley Tucci), she rhapsodizes in epicurean ecstasy over her first lunch: Dover sole sputtering in butter sauce. Floundering for a purpose in life, propelled by her passion for eating and enjoyment of shopping in fragrant French markets, Julia enrolls at Le Cordon Bleu and eventually collaborates with Simone Beck (Linda Edmond) and Louisette Bertholle (Helen Carey) to write a comprehensive French cookbook aimed at “servantless” Americans.

Intricately juxtaposed is the less-compelling 2002 dilemma faced by Julie Powell (Amy Adams), a downtrodden NYC Downtown Development administrative assistant who seeks solace by attempting all 524 butter-laden recipes in the first volume of “Mastering the Art of French Cooking” in 365 days in the tiny kitchen of the cramped apartment in Queens she shares with her long-suffering husband (Chris Messina) – and writing about her travails in a blog. Julie’s crowing glory is Julia’s duck en croute.

Adapted by writer/director Nora Ephron (“You’ve Got Mail,” “Sleepless in Seattle”) from Ms. Child’s posthumously published autobiography, “My Life in France” and Ms. Powell’s memoir, “Julie & Julia,” it also pays homage to supportive spouses – without whom neither woman might ever have achieved her goal.

In yet another indelible, Oscar-caliber performance, Meryl Streep embodies 6’2” Julia Child, perfectly capturing her sing-song, vowel-elongating vocal cadence, while Amy Adams is charming as her ardent admirer – and kudos to food stylist Susan Spungen for the appetizing dishes. Unfortunately, when the director is also the writer, there’s no one around to call a halt, so some of the scenes drone on too long. But that’s a minor quibble. On the Granger Movie Gauge of 1 to 10, “Julie & Julia” is a foodie-friendly 9. Bon Appetit!

Susan Granger’s review of “The Answer Man” (Magnolia Films)

Riffing on Neale Donald Walsch’s best-seller, “Conversations With God,” John Hindman has concocted an earnest, not-quite-satire of New Age wisdom that evolves into a mediocre romantic drama.

Cranky Arlen Faber (Jeff Daniels) is the neurotic, reclusive author of a veritable library of inspirational literature based on his international best-seller “Me and God.” For 20 years, this self-styled God-guru been hiding behind the closed doors of his townhouse in Philadelphia, refusing to have his photograph taken, sign autographs, give interviews or do anything to the publicize his books, much to the chagrin of his agent. Then he wrenches his back so badly that he’s forced, literally, to crawl to the office of a nearby chiropractor, Elizabeth (Lauren Graham), who has recently opened her practice. She’s a perky single mother with a seven year-old son Alex. Inevitably and predictably, they develop a relationship, particularly when Arlen endearingly bonds with the child. At the same time, Arlen also reluctantly befriends recently-out-of-rehab Kris (Lou Taylor Pucci), who is coping not only with his alcoholic father’s death but also facing the bankruptcy of his beloved second-hand bookstore.

Genial Jeff Daniels makes misanthropic characters sympathetic, particularly if you recall “The Squid and the Whale,” and Lauren Graham (“Gilmore Girls”) rarely finds film roles equal to her talent, while Kat Dennings (“Nick and Norah’s Infinite Playlist”) and Olivia Thirlby (“Juno”) add youthful support. But novice writer/director John Hindman squanders their collective expertise with this meandering melodrama about dispensing wisdom that’s totally devoid of any meaningful impact, despite delving into universal themes like the father/son relationship, overprotective mothers, alcoholism and, of course, the perennial search for the elusive Higher Power.

On the Granger Movie Gauge of 1 to 10, “The Answer Man” is a banal, feel-good 5 with some unnecessary profanity that feels definitively discordant in this psycho-babbling concept.

Susan Granger’s review of “Aliens in the Attic” (20th Century-Fox)

While Ashley Tisdale of of “High School Musical” fame doesn’t have much to do in this bland sci-fi film, she’s undoubtedly the primary audience draw. The plot actually revolves around teenage science nerd, Tom Pearson (Carter Jenkins), a “mathlete” who deliberately gets bad grades in school in order to be ‘cool.’ When Tom’s on vacation with his family in rural Michigan, he’s dispatched to discover why the dish TV isn’t working properly. That’s how he discovers that the top floor of their rented three-story house has been commandeered by tiny, green, troll-like extraterrestrials. They’re an advance party for an upcoming alien invasion.

Determined to defend Earth and avoid a massacre, Tom launches a children’s crusade that includes his adorable seven year-old sister Hannah (Ashley Boettcher), their smark-aleck cousin Jake (Austin Butler), the videogame-obsessed twins, Art and Lee (Henri and Regan Young) and bikini-clad Bethany (that’s Ashley Tisdale). Meanwhile, Tom’s parents (Kevin Nealon, Gillian Vigman), Nana Rose (Doris Roberts), Uncle Nate (Andy Richter), Bethany’s ‘older’ boyfriend (Robert Hoffman) and the local sheriff (Tim Meadows) are clueless about the planet’s imminent peril. It seems the aliens have developed a mind-controlling dart-gun device but it only works on adults. (Is that wishful thinking, or what?)

Written by Mark Burton (“Wallace & Gromit in The Curse of the Were-Rabbit”) and Adam F. Goldberg (“Fanboys”) and directed by John Schultz (“Like Mike,” “The Honeymooners”), it’s a tepid, teeny-bopper adventure that toys with the theme of feeling emotionally alienated, while the aggressive aliens (voiced by J.K. Simmons, Thomas Hayden Church, Kari Wahlgren, Josh Peck) bear a not-so-coincidental resemblance to Joe Dante’s critters in “Gremlins” (1984). Predictably, the most amusing moments are those engendered by the special effects of Rhythm & Hues Studios, particularly when Doris Roberts, best known for “Everybody Loves Raymond,” becomes a martial-arts master and actor/dancer Robert Hoffman reacts to the aliens’ mind-control. On the Granger Movie Gauge of 1 to 10, “Aliens in the Attic” is a cheesy 4. It’s a kids-to-the-rescue adventure that should soar in popularity when it’s released on DVD.

Susan Granger’s review of “A Perfect Getaway” (Universal)

This suspense thriller begins with a promising premise but soon disintegrates into a preposterous predator/prey tale filled with brutality, bloodshed and butchery.

Cliff (Steve Zahn) and Cydney (Milla Jovovich) are honeymooners who arrive on Kauai, Hawaii’s “garden island,” known for its lush tropical greenery, striking waterfalls and pristine, sparkling beaches, looking not only for adventure but also “something to remember.” After spending $475.95 on camping supplies, they decide to hike five miles through the rain forest, following a narrow path to a strip of remote beach that’s accessible only on foot or by kayak. En route, they’re accosted by two hitchhikers, hostile Kale (Chris Hemsworth) and his flaky gal-pal Cleo (Marley Shelton). Then they meet up with Nick (Timothy Olyphant), an Iraq War vet suffering from testosterone-overload, bragging, “I’m a goddamn American Jedi,” and, subsequently, his companion, Gina (Kiele Sanchez).

“We’re newlyweds,” Cydney burbles. “We’re not,” Gina responds curtly.

So there are three couples, perhaps more, darting about on the secluded trail, plus some kayakers who unexpectedly arrive on the scene.

Complications ensue when they discover that there’s a pair of homicidal maniacs on the loose who recently stalked, murdered and dismembered honeymooners on Oahu and are believed to be in the Kauai vicinity. Unsure whether to turn back or stay, tension builds as the three couples harbor sinister suspicions about one another, particularly when Nick kills a mountain goat for dinner and Gina expertly disembowels it. Soon it becomes clear that their survival is at stake.

Since Cliff reveals that he’s a Hollywood screenwriter, Nick relentlessly gives him tips on building suspense, like, “introducing red snappers,” alluding to what’s known in the business as ‘red herrings’ or characters that are introduced to throw people off. That’s a device that writer/director David Twohy (“Chronicles of Riddick”/”Pitch Black”) relishes because he dishes out enough ‘red herrings’ to stock a Scandinavian smorgasbord.

On the Granger Movie Gauge of 1 to 10, “A Perfect Getaway” is a flawed 4. It’s a horrifying trip you may not want to take.