Movie/TV Reviews

Lust, Caution

Susan Granger’s review of “Lust, Caution” (Focus Features)

Daring, innovative director Ang Lee follows his controversial “Brokeback Mountain” and breathtaking “Crouching Tiger, Hidden Dragon” with this erotic Chinese historical drama, rated NC-17 for “explicit sexuality.”
Based on an Eileen Chang short story set during the Japanese occupation of Shanghai during World War II, the plot involves a guileless young drama student (Tang Wei) who is recruited by idealistic Kuang Yu-Min (Wang Lee-Hom) to impersonate an aspiring socialite, Mrs. Mak, and join the mah-jongg game run by Mrs. Yee (Joan Chen) in order to seduce and entrap her husband, Mr. Yee (Tony Leung Chiu-Wai), a cruel collaborator who routinely turns in resistance members to the Japanese invaders. She’s constantly afraid that her real identity will be discovered and he’s paranoid about being duped. The furtive tension generated by their fear becomes mutual lust, punctuated by the staccato ‘clack, clack, clack’ of mah-jongg tiles.
In the espionage vein, it’s not unlike Dutch director Paul Verhoeven’s “Black Book” about a pretty Jewess who takes a Gestapo officer as her lover to aid the resistance.
As for the bold, often violent and abusive sex scenes, Leung and Wei maneuver naked through an unpredictable Kama Sutra of gratuitously graphic positions.
“Each time they have intercourse, it’s like a conversation,” explains Lee, “Sex is the ultimate body language. The contortion of their bodies visually represents what they inflict on each other.”
Lovely Beijing newcomer Tang Wei carries the film, ably supported by Hong Kong’s top actor Tony Leung Chiu-Wai, while Joan Chen is superb as the gossipy, materialistic matron. Rodrigo Prieto’s cinematography is exquisite, accompanied by Alexandre Desplat’s music. In Chinese with English subtitles, on the Granger Movie Gauge of 1 to 10, “Lust, Caution” is a suspenseful, sadomasochistic 7, running a painfully long 158 minutes.

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The Darjeeling Limited

Movie/TV Reviews / Susan

Susan Granger’s review of “The Darjeeling Limited” (Fox Searchlight)

The luggage! The luggage! It’s all about the baggage.
Wes Anderson (“Rushmore,” “Bottle Rocket,” “The Royal Tennenbaums”) once again delves into family dysfunction, as the three wealthy, but estranged, Whitman brothers – who haven’t seen each other in the year since their father’s funeral – journey through rural India by train with 11 – count ’em – stunning, custom-made, animal motif Louis Vuitton suitcases.
Except for a shared penchant for substance abuse, they couldn’t be more different. The eldest, Francis (Owen Wilson), his head in bandages as the result of a motorcycle accident, is the ‘organizer,’ distributing laminated cards delineating each day’s spiritual activities. “We’re here to find ourselves and bond with each other,” he decrees.
Middle sibling Peter (Adrien Brody) has a pregnant wife, while the youngest, Jack (Jason Schwartzman), is still so obsessed with his ‘ex’ that he eavesdrops on her answering machine. But that doesn’t stop him from having a liaison with their compliant compartment attendant (Amara Karan), infuriating the prim steward (Waris Ahluwalia).
When they finally track down their self-absorbed mother (Anjelica Huston) in an isolated Himalayan convent, she – gently but firmly – tells them to quit obsessing about the past. Forgiveness would mean traveling lighter, leaving a lot of emotional baggage behind.
Meticulously stylized and nimbly filmed on a retrofitted Indian train, it’s a spicy, lyrical cinematic feast, slyly written by Anderson, Schwartzman (Talia Shire’s son) and Roman Coppola (Francis’s son) – with a terrific score and cameos by Ifan Khan and Bill Murray.
On the Granger Movie Gauge of 1 to 10, “The Darjeeling Limited” is a poignant, peripatetic 8. Access the titular website for Anderson’s short, “Hotel Chevalier,” featuring Jason Schwartzman’s character having a rendezvous in Paris with his ‘ex’ (Natalie Portman), which will undoubtedly be part of the DVD.

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Elizabeth: The Golden Age

Movie/TV Reviews / Susan

Susan Granger’s review of “Elizabeth: The Golden Age” (Universal Pictures)

This sequel to the highly acclaimed 1998 “Elizabeth” is a historical costume drama – with far more emphasis on the ‘costume’ than the ‘drama.’
It begins in 1585, when strong-willed, independent Queen Elizabeth I (Cate Blanchett) with her wily adviser, Sir Francis Walsingham (Geoffrey Rush) faces her biggest challenge from across the Channel. Backed by the Pope and the Inquisition, Philip II of Spain (Jordi Molla) is determined to conquer Protestant England, utilizing his mighty Armada, and to place Elizabeth’s treacherous Catholic cousin, Mary Stuart, Queen of Scots (Samantha Morton), on the British throne.
Meanwhile, at court, the dashing explorer Walter Raleigh (Clive Owen) returns from the New World, bearing gifts – like ‘live’ Indians, potatoes, tobacco and gold – and intrigues Elizabeth with his tales of adventure, while clandestinely seducing her favorite Lady-in-Waiting, Bess (Abbie Cornish). Predictably, when Elizabeth discovers that Bess is pregnant, jealousy overwhelms reason.
Melodramatically written by William Nicholson and Michael Hirst and pretentiously directed by Shekhar Kapur, it’s lavish but as emotionally barren as Elizabeth herself. Resplendent Cate Blanchett still rants and raves but comes across shriller. While Her Majesty ages, Blanchett obviously doesn’t – the fact that the Queen’s now 52 is obviously irrelevant. Clive Owen oozes charisma, this time channeling that swashbuckling rogue, Errol Flynn.
Trivia buffs note that Bette Davis also played Queen Elizabeth I in “The Private Lives of Elizabeth and Essex” (1939) and “The Virgin Queen” (1955) with young, pre-“Dynasty” Joan Collins as Bess.
On the Granger Movie Gauge of 1 to 10, “Elizabeth: The Golden Age” is a shallow, clichŽ-filled, deafening 6. There’s simply no excuse for Craig Armstrong and AR Rahman’s musical score to be so overpowering – except, perhaps, to keep you awake when you might be inclined to nod off.

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The Game Plan

Movie/TV Reviews / Susan

Susan Granger’s review of “The Game Plan” (Disney)

Genial Dwayne “The Rock” Johnson has a huge fan following – which explains the astounding box-office success of this heart-warming if utterly predictable comedy.
The 6’4″-tall former wrestling champ plays legendary Joe “Never Say No” Kingman, an egomaniacal Boston Rebels quarterback whose swingin,’ Elvis-inspired bachelor lifestyle is interrupted by the unexpected arrival on his penthouse doorstep of a precocious eight year-old girl, Peyton (Disney Channel “Cory in the House” star Madison Pettis), who claims to be his daughter. It seems that her mother, Joe’s ex-wife, with whom he broke up nine years ago, is off to Africa to supervise a massive humanitarian effort in the Sudan and is utterly unreachable.
Suddenly, distracting ballet classes, baby dolls and bedtime stories must be sandwiched in between practices and dates with supermodels – much to the chagrin of Joe’s aggressive agent, Stella Peck (Kyra Sedgwick of TV’s “The Closer”), as time for the pro championship game grows near.
Revolving around what’s really important in life, the formulaic screenplay was written by first-timers Nichole Millard & Kathryn Price and generically directed by Andy Fickman – including the usual mischief-making slapstick and sight gags: i.e. starting the kitchen blender with the lid off, filling the bathroom with bubbles, dressing Joe’s bulldog Spike in a tutu. Plus there’s hotshot Joe’s unfortunate cinnamon-allergy and a “Swan Lake” dance recital supervised by Joe’s sexy dancer-love interest Roselyn Sanchez.
Credit Johnson’s undeniable charisma for gaining ground while carrying this cuteness along, even when he’s dressed in skintight green leotards and Peyton marches forth in her own mini-football uniform. Hopefully, Johnson’s next outing, starring as Agent 23 in “Get Smart,” will be better. On the Granger Movie Gauge of 1 to 10, “The Game Plan” is a good-natured, family-friendly 5 – from playboy to paternity.

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Duck

Movie/TV Reviews / Susan

Susan Granger’s review of “Duck” (Right Brained Releasing)

If you love animals and off-beat films, you’ll find them both in this quirky, whimsical, low-budget, independent road movie.
Philip Baker Hall plays Arthur, a retired history professor, who has not only lost his wife and only son but also summarily been evicted from his Los Angeles apartment. With no job and no money, no family and no friends, he’s homeless and hopeless. It’s 2009 and, under President Jeb Bush, all pensions, along with Medicare and Social Security benefits have been abolished.
Planning to kill himself, Arthur walks to a nearby park where he discovers an orphaned duckling – which he names Joe – and discovers a new lease on life. Joe becomes Arthur’s constant companion, like “Travels With Charley,” as this unlikely twosome gamely ventures forth on an odyssey to forge some kind of existence together – if and when they can reach the beach.
It’s not always easy – like when construction workers drain the park’s pond and throw stones at Joe and when a hostile bus driver refuses to allow Joe to ride on her bus. A psychiatric social worker consigns Arthur to a homeless support group where the appeal of the free donuts fails to make up for the hostile conversation. Nevertheless, Arthur befriends a blind man, Norman (Bill Cobb), with a seeing-eye dog, and an Asian immigrant pedicurist (Amy Hill) saves Joe’s webbed feet.
Writer/director Nic Bettauer concocts a truly original cinematic experience – and whether or not you’ll enjoy the various vignettes depends on your willingness to waddle along for the ride. Admittedly, some of their quacking encounters work better than others. On the Granger Movie Gauge of 1 to 10, “Duck” is a strangely endearing 7. And it’s certainly unique.

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Waitress

Movie/TV Reviews / Susan

Susan Granger’s review of “Waitress” (Fox Searchlight)

When does a comedy become a tragedy? When its talented writer/director, Adrienne Shelly, is brutally murdered in her Manhattan apartment three months before it opens at the 2007 Sundance Film Festival.
At Joe’s Pie Shop in a small Southern town, Jenna (Keri Russell) is recognized as a “pie genius,” having inherited her late mother’s gift for concocting inventively delicious bakery goods like “I Hate My Husband Pie” (unsweetened bittersweet chocolate made into a pudding, drowned in caramel), “I Don’t Want Earl’s Baby Pie” (egg and brie quiche with a smoked ham center), “Kick in the Pants Pie” (cinnamon spice custard) and “Pregnant Miserable Self-Pitying Loser Pie” (lumpy oatmeal with mashed fruitcake – flambŽ), among others. Yeah, this could be considered one of those “foodie movies.”
While cantankerous Old Joe (Andy Griffith) appreciates her, Jenna’s controlled by her despicably abusive husband Earl (Jeremy Sisto), who not only takes her money and gets her pregnant but makes her promise that she won’t pay more attention to their baby than to him. Under the care of a compassionate obstetrician (Nathan Fillion), newly arrived from Connecticut, she discovers mutual affection – which she confides to her folksy fellow waitresses – wise-cracking Becky (Cheryl Hines) and mousy Dawn (Adrienne Shelly) – who have their own mini-dramas.
Adrienne Shelly was an independent film actress (“Trust,” “The Unbelievable Truth”) who began writing and directing movies in the late 1990s. She was killed on Nov., 1, 2006, while working on “Waitress” post-production. It’s a tribute to her, radiant Keri Russell – as the “queen of kindness and goodness” – and cinematographer Matthew Irving that this flaky, candy-colored fable of infidelity, empowerment and re-invention is so mouth-watering. On the Granger Movie Gauge of 1 to 10, “Waitress” is a tasty, if bittersweet 8. It’s truly scrumptious!

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Knocked Up

Movie/TV Reviews / Susan

Susan Granger’s review of “Knocked Up” (Universal Pictures)

Since “Knocked Up” was written and directed by Judd Apatow (“The 40 Year-Old Virgin”), you’d expect it to be crude, rude and profane – and it doesn’t disappoint.
Because she’s drunk out of her mind, twentysomething Alison (Katherine Heigl of “Grey’s Anatomy”), a beautiful up-and-coming interviewer on E! Entertainment television, hooks up with Ben (Seth Rogen), a stoned slacker, for a one-night stand. At breakfast the next day, she quickly realizes they have nothing in common and forgets about him. Until – several weeks later – she realizes she’s pregnant. After rejecting the idea of abortion, Alison decides to have the baby and calls Ben to accompany her to the obstetrician.
Against all odds, they become an unlikely couple. Alison’s moral support comes from her controlling sister Debbie (Leslie Mann, a.k.a. Mrs. Apatow) and restless brother-in-law (Paul Rudd), while Ben’s eternally adolescent buddies (Jay Baruchel, Jonah Hill, Jason Segel, Martin Starr) are testosterone-propelled layabouts who’ve been talking about designing a website listing when and where actresses appear nude in movies.
What distinguishes Apatow’s writing is his bawdy, blunt-spoken dialogue and insightful, refreshing honesty, particularly in the poignant, soul-bearing sessions. His characters have an essential sweetness about them with little of the cynicism that’s so prevalent these days. Pop culture references abound; particularly funny are the many allusions to “Spider Man 3,” playing in an adjacent theater.
But Apatow’s directorial pacing for two-plus hours is uneven, as is his casting. Katherine Heigl’s emotional versatility so outshines Seth Rogen’s schtick that it’s disconcerting; sadly, Rogen lacks Steve Carrell’s charisma. And as an envious E! executive, SNL’s Kristen Wiig gets the best caustic lines. On the Granger Movie Gauge of 1 to 10, “Knocked Up” is a hilariously vulgar 7.After the resounding success of “Borat” nothing surprises me.

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Away From Her

Movie/TV Reviews / Susan

Susan Granger’s review of “Away From Her” (Lionsgate)

What strength does the power of love have against the ravages of Alzheimer’s? That’s the question posed by 28 year-old actress-turned-writer/director Sarah Polley’s powerful drama about the grace and the cruelty of aging.
Fiona (Julie Christie) and Grant (Gordon Pinsent) have been married for 44 years when he observes her placing a frying pan into the freezer after washing and drying it. Obviously, something’s wrong. As her mental capacity declines, Fiona becomes a danger to herself, wandering off and becoming lost. When it’s obvious that he can no longer care for her, they agree that she should move into a nearby assisted-living facility. Soon Fiona becomes attached to another patient (Michael Murphy), as Grant relates to his pragmatic wife (Olympia Dukakis).
Independent, outspoken Sarah Polley tackles the screen adaptation of the Alice Munro short story “The Bear Came Over the Mountain,” saying: “I think the ways in which people are damaged are the ways in which they’re strong,” she says. “It’s what makes people interesting – what they’ve overcome and how, and what they haven’t and how that’s become a good thing. Almost everyone’s life is both a gorgeous story and a tragedy. I think being alive is really, really hard, and I’m constantly stunned and amazed by people who make it something interesting and wonderful.”
Julie Christie remains as luminous as she was in “Darling” and “Dr. Zhivago,” and she’s matched by Gordon Pinsent, a Canadian actor best known for “The Shipping News.” Shot in the bitter cold of rural Ontario on a modest $4 million budget, it’s one of the most mature movies to come along in awhile. On the Granger Movie Gauge of 1 to 10, “Away From Her” is an indelible, uncompromising 9, a sensitive testament to emotional endurance.

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Even Money

Movie/TV Reviews / Susan

Susan Granger’s review of “Even Money” (Yari Film Group)

This low-budget, independent cautionary tale about gambling attempts to capture the insidious Lady Luck addiction fever – and despair.
Instead of writing her new novel, Carolyn Carver (Kim Basinger) secretly spends her days in front of the slot machines at the local casino, much to the chagrin of her neglected husband (Ray Liotta) and teenage daughter. Deeply in debt, her desperation grows – until she befriends Walter (Danny De Vito), a washed-up magician who convinces her that he knows of a fixed sport event, “a sure thing,” she can bet on. That involves a college basketball star (Nick Cannon) who has been shaving points to help his brother (Forrest Whitaker) settle a gambling debt and a bookmaker (Grant Sullivan) who is losing his girlfriend (a now-grown-up Carla Gugino) because of the unsavory nature of his business. Traipsing through the crumbling trail of tales, there’s a detective (Kelsey Grammer, wearing a distracting prosthetic nose) and a sleazy, sadistic mobster (Tim Roth).
Problem is: since you have no idea why Carolyn’s wasting her life, Kim Basinger’s portrayal is shallow, at best. First-time screenwriter Robert Tannen fails to give her motivation, an omission which irreparably dilutes Mark Rydell’s (“The Rose,” “On Golden Pond”) direction. In addition, neither production designer Robert Pearson nor cinematographer Robbie Greenberg captures the sensory allure of today’s casinos. And the rising threat of Internet wagering is never even mentioned.
According to statistics, pathological gambling affects 1% of all adults. Another 2-3% have less significant but still serious problems and are known as ‘problem gamblers.’ But, unfortunately, this low-budget, independent series of interconnected vignettes adds little that hasn’t been covered – better – before. On the Granger Movie Gauge of 1 to 10, “Even Money” is a floundering, clichŽ-filled 4. Don’t bet on it.

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Pirates of the Caribbean: At World’s End

Movie/TV Reviews / Susan

Susan Granger’s review of “Pirates of the Caribbean: At World’s End” (Disney)

Call it the curse of great expectations. So much is anticipated about the continuing adventures of free-spirited Capt. Jack Sparrow (Johnny Depp) that some disappointment is inevitable – but, fortunately, not much.
Beginning where “Dead Man’s Chest” left off, Elizabeth Swann (Keira Knightley), Will Turner (Orlando Bloom) and undead Capt. Barbossa (Geoffrey Rush) must rescue Jack from Davy Jones Locker. East India Trading Company’s Lord Cutler Beckett (Tom Hollander) has gained control of heartless Davy Jones’ (Bill Nighy) ghost ship, the Flying Dutchman, and formed an Armada to eliminate piracy.
“There was a time when a pirate was free to make his own way in the world,” recalls Capt. Barbossa. “But our time is comin’ to an end. The Nine Pirate Lords from the four corners of the Earth must stand together.”
So the buccaneers are off to exotic Singapore to confront Sao Feng (Chow Yun-Fat) to get charts, and a ship, to sail to World’s End to free Jack from a desert island where he’s been trapped with dozens of clones of himself – along with thousands of rock crabs – since his encounter with the monstrous kraken.
Deception, betrayal, duplicity and upside-down, supernatural confusion abound, culminating in a spectacular sequence in which rain-soaked Sparrow and Davy Jones battle high in the rigging as their ships swirl in a giant whirlpool created by the sea goddess, Calypso.
Directed by Gore Verbinski, it’s not about living forever – it’s about living with yourself – at least according to a cameo by Rolling Stone Keith Richards. On the Granger Movie Gauge of 1 to 10, “Pirates of the Caribbean: At World’s End” is an exciting, entertaining 9. Be patient through the long credits for a revealing epilogue as the salty seafarers sail on.

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