Movie/TV Reviews

Hustle & Flow

Susan Granger’s review of “Hustle & Flow” (Paramount Classics)

After an auspicious debut at the Sundance Film Festival, this indie sensation, written and directed by Craig Brewer, is so filled with obscenities that, inevitably, much of its potential audience will be put off simply by the vulgar, dirty language. In addition, there’s an obviously sexist and misogynist tilt to the acrid material. Consider yourself forewarned. Set in Memphis, the multi-layered story centers on an aging, philosophizing pimp/drug dealer called DJay (Terrence Howard) who decides to go for “easier money” as a hip-hop rapper. Working out of his multicolored Chevy and living in poverty with three hookers just doesn’t cut it anymore. Across town, Key (Anthony Anderson) has a strait-laced wife (Elise Neal) and works as a sound engineer but longs for something more. These high-school buddies reconnect at a convenience store and decide to make “crunk” music together. They just might have a chance to get their demo tape heard when superstar Skinny Black (Ludacris) arrives back in town for a Fourth of July party for which DJay is expected to supply weed. Inevitably, complications arise. What makes it memorable is an audacious, star-making turn by Terrence Howard (“Crash,” “Ray”) and the appearance of Isaac Hayes as a neighborhood bar owner/mentor. But this gritty mid-life crisis story is so seamy and the characters so sullen and sleazy that it doesn’t even measure up to Eminem’s similar “8 Mile.” There’s no way to escape the fact that DJay exploits women, demolishing their self-esteem, no matter how much Craig Brewer tries to convey that the female characters have been “empowered” by the music. On the Granger Movie Gauge of 1 to 10, “Hustle & Flow” is an abusive, abrasive 5. Howard hustles but the flow just doesn’t go.

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The Aristocrats

Movie/TV Reviews / Susan

Susan Granger’s review of “The Aristocrats” (ThinkFilm)

For many years, “Pink Flamingos” reigned as the filthiest film ever made. Now it’s Paul Provenza’s unapologetically profane riff on one particularly dirty joke whose roots go back to vaudeville and whose impact illustrates the power of language to shock one’s sensibilities. “A guy goes into a talent booking agent’s office…” the joke begins. And then, depending on which comedian is relating it, the joke launches into a graphic description of the guy’s act, which involves his entire family engaged in a variety of sexual and scatological acts. Nothing is off-limits: incest, sodomy, bestiality, racism, defecation. It’s not only misogynistic but politically incorrect. Stunned, the agent inquires what the act is called. The punch line: “The Aristocrats.” bWhile not particularly funny, this joke has become a showbiz link among humorists; it’s like a secret club handshake. As they tell it, each comedian – Robin Williams, Whoopi Goldberg, Drew Carey, Phyllis Diller, George Carlin, Chris Rock and Jon Stewart – embellishes it, often riffing on the nature of comedy and how to tell a joke. Eric Idle does a Scottish version. Hank Azaria gives it a Polish twist. Kevin Pollack variation has a Christopher Walken imitation. There’s even a mime version. But the most timely, outrageous interpretation turns out to be Gilbert Gottfried’s rendition at a Friars Club Roast for Playboy’s Hugh Hefner in Manhattan, just after 9/11. Director Paul Provenza and producer Penn Jillette (of Penn & Teller) take freedom of expression to the limit in this lewd documentary. On the Granger Movie Gauge of 1 to 10, “The Aristocrats” is a vulgar, vile, disgusting 7, and I suspect audiences will flock to see what all the fuss is about. While offensive, it’s destined to be a staple on the triple-X rated video shelf.

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Skeleton Key

Movie/TV Reviews / Susan

Susan Granger’s review of “Skeleton Key” (Universal Pictures)

Usually bubbly and vivacious Kate Hudson finds herself mired deep in a Louisiana bayou in this supernatural thriller from the screenwriter of “The Ring” and the director of “K-PAX.” She’s serious Caroline Ellis, a 25 year-old hospice worker determined to make enough money to attend nursing school. When she’s offered $1,000-a-week to be a live-in caretaker for an elderly stroke victim confined to a wheelchair in an isolated plantation mansion an hour’s drive outside of New Orleans, she accepts. That brings her into the decrepit home of Violet (Gena Rowlands) and Ben (John Hurt) Deveraux whose Southern legacy runs deep, as the estate lawyer (Peter Sarsgaard) knows. Given an old-fashioned skeleton key that unlocks every door, Caroline becomes curious about this secretive family and discovers a hidden room behind a bookcase in the attic that’s filled with sinister hoodoo paraphernalia. (Hoodoo is not voodoo; it’s different. Not a religion, hoodoo is primarily witchcraft with spells, potions and personal conjurations.) Writer Ehren Kruger has fashioned a taut, creepily American ghost story which, although it is unfortunately quite formulaic, derivative and predictable – with a ludicrous conclusion, director Iain Softley milks for all the moody, menacing flavor inherent in the psychological horror genre, proving, “This house has been nothing but blood and tears.” Count on compelling performances from veterans Gena Rowlands and John Hurt and, after years of lighthearted romantic comedies, Kate Hudson is quite ready to tackle something darker and more provocative. On the Granger Movie Gauge of 1 to 10, “The Skeleton Key” is a shallow, spooky 6, finding bizarre, brooding tension in what’s behind that ominous, forbidding door to scare you on a hot summer’s night.

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Valiant

Movie/TV Reviews / Susan

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

It’s not “Chicken Run,” but it’s a fresh twist on “the little bird who could,” touching on truth since carrier pigeons were really used by British Intelligence during W.W.II to elude the Nazis and transmit Top Secret messages across the English Channel to the French Resistance. The spirited story begins in 1939, when fierce German Falcons were decimating the Royal Homing Pigeon Service and the country’s most decorated hero, Wing Commander Gutsy (Hugh Laurie), was looking for new recruits. In the tiny rural town of West Nesting, plucky, patriotic Valiant (Ewan McGregor) tells his friend Felix the seagull (John Hurt) he’s going to volunteer In London’s Trafalgar Square, Valiant, literally, bumps into Bugsy (British comedian Ricky Gervais), a fat ‘n’ cheeky con-pigeon who winds up in the war by mistake. Valiant and Bugsy join a posh bloke named Lofty and brothers Tail Feather and Tipwood in Squad F.. With their homing training under Sarge (Jim Broadbent) only half complete, they’re ordered to report for duty. Can Valiant and his cohorts rescue a kidnapped POW (John Cleese) and elude the evil Von Talon (Tim Curry)? Will Valiant ever wind up with the sweet nursing dove (Olivia Williams)? What distinguishes this animated entry about an undersized pigeon with an oversized heart is that it’s the first major computer-generated film to be made in England. Produced by John H. Williams (“Shrek,” “Shrek 2”), it delivers a timeless message of courage although it’s surprisingly short, a mere 70 minutes. Certainly Ewan McGregor and the other vocal talent chirp amiably enough but the CGI is hardly inspired. On the Granger Movie Gauge of 1 to 10, “Valiant” is a funny, high-flying, family-friendly 7. As Sarge puts it: “Fall in, featherbrains!”

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Dukes of Hazzard

Movie/TV Reviews / Susan

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

As the great American critic H.L. Mencken said, “No one ever went broke underestimating the taste of the American public.” And the box-office success of this flick once again proves it. Bearing only superficial resemblance to the amiable action comedy series that ran from 1979 to 1985, the dumbed-down concept has a bunch of stereotypical rednecks romping around. The plot revolves around how cousins Bo (Seann William Scott), Luke (Johnny Knoxville) and Daisy (Jessica Simpson) try to save the Duke family farm by foiling crooked politician Boss Hogg’s (Burt Reynolds) plan to landgrab and strip-mine Hazzard County, Georgia. But most of the time, the “Appalachian-American” guys are selling moonshine manufactured by Uncle Jesse (Willie Nelson), brawling, chasing chicks and barreling recklessly through the backwoods in their beloved, bright orange ’69 Dodge Charger, flying a Confederate flag and dubbed General Lee. Utilizing an updated, by-the-numbers script by John O’Brien (“Starsky & Hutch”) and broadly directed by Jay Chandrasekhar (“Super Troopers”), they’re no longer “the good ol’ boys, never meanin’ no harm.” Instead, they’re sleazy, obnoxious goofballs. Granted, the rural car chases are cool; credit the stunt drivers for earning their paychecks. Bodacious blond Jessica Simpson’s sexy denim shorts are even cheekier than Catherine Bach’s were on the TV series, which co-starred Tom Wopat and John Schneider and was used as a lead-in for “Dallas.” And one-time “Wonder Woman” Lynda Carter does yet another cameo as the family friend, Pauline. On the Granger Movie Gauge of 1 to 10, “The Dukes of Hazzard” crashes in with a coarse, crass 3. It’s pathetic when a the closing credits and outtakes are funnier than the film itself. Yee-haw!

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Four Brothers

Movie/TV Reviews / Susan

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

Back in 1965, John Wayne’s “The Sons of Katie Elder” related the saga of the rowdy sons of a frontier woman who set out to avenge her death. The camaraderie of that vintage Western, directed by Henry Hathaway, has now been urbanized and updated – although not acknowledged – by director John Singleton (“Boyz N the Hood”) and writers David Elliot & Paul Lovett. Set in contemporary Detroit just before Thanksgiving, the convoluted story begins with maternal, law-abiding Evelyn Mercer (Fionnula Flanagan) reaming out a neighborhood youngster who tries to steal candy from a shabby convenience store. Shortly afterwards, she’s gunned down in what looks like a robbery attempt. When her four grown foster sons (Mark Wahlberg, Tyrese Gibson, Andre Benjamin, Garrett Hedlund) gather for the funeral, it quickly becomes obvious that her death was not random. It was premeditated murder. But why would anyone want to kill this saintly old woman? While the local police detectives (Terrence Howard, Josh Charles) are supposed to solve the crime, Evelyn’s angry, hot-headed, rebellious sons are determined to take the law into their own hands. Mixing vigilante justice with blaxploitation, John Singleton delivers an implausible shoot-’em-up scenario, including one bizarre scene in which the gun-waving brothers terrorize the entire crowd at a high-school basketball game, demanding that an informant come forward. No one even thinks of calling “911” but, when one scared kid quickly skulks away, they know they’ve nabbed their first clue. Then there’s a stooge peddling Baby Ruth bars. On the Granger Movie Gauge of 1 to 10, “Four Brothers” is a violent, amoral 4. Do yourself a favor: forget it!

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The Brothers Grimm

Movie/TV Reviews / Susan

Susan Granger’s review of “The Brothers Grimm” (Dimension Films & M.G.M.)

Once Upon a Time…back in early 19th century Germany, there were two young storytellers who envisioned a world filled with demons, witches, sorcerers and wicked queens. This is not exactly their tale – but almost – or, as one says, “Life’s little subterfuges make it all worthwhile.” As a child, Jake (Heath Ledger) was gullible, bringing home “magic” beans instead of food, eliciting derision from his cynical brother Will (Matt Damon). Yet within a few years, both are earning a meager living as con men, spinning webs of deception and delusion, convincing superstitious villagers that they can vanquish evil spirits. Their reputation attracts the attention of Napoleon’s wily Governor (Jonathan Pryce) who dispatches them to Marbaden, where several little girls have gone missing in the forest. Under the watchful eye of his dastardly aide (Peter Stromare), Jake and Will are forced to enter a spooky realm of curses and crows, crones and crypts – where fantasy meshes with reality inside the evil 500 year-old Mirror Queen (Monica Bellucci). Their only guide is a trapper (Lena Headley), who warns them, “Don’t trust the trees!” Supremely suited to direct this richly visual, surreal, topsy-turvy adventure, Terry Gilliam (“The Fisher King,” “Twelve Monkeys,” “Brazil”) relishes every moment of Ehren Krueger’s light-hearted screenplay that interweaves fragments of Red Riding Hood, Rapunzel, Hansel & Gretel with Monty Pythonesque humor. None of this should, however, be confused with the real Jacob and Wilhelm Grimm, patriotic scholars who collected folklore so the German people could be proud of their culture. On the Granger Movie Gauge of 1 to 10, “The Brothers Grimm” is an imaginative, enchanting 8, convincing us that “Truth is never more terrible than fiction.”

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Broken Flowers

Movie/TV Reviews / Susan

Susan Granger’s review of “Broken Flowers” (Focus Features)

Idiosyncratic filmmaker Jim Jarmusch has created a tone poem about malaise, focusing on a taciturn, middle-aged Don Juan who is suffering through a vacant period of listless depression. Don Johnston (Bill Murray) has retired after making a fortune in computers. Diffident and afraid of commitment, he’s just broken up with his most recent girl-friend (Julie Delpy) when a mysterious letter on pink stationery arrives. It’s from an anonymous former lover who informs him that, 19 years ago, she gave birth to his son who is now looking for him. Johnston’s only friend Winston (Jeffrey Wright), an Ethiopian whose family lives next-door, plays detective and insists that Johnston re-visit each of the possible contenders, bearing a bouquet of pink flowers. Thus the quest begins. First on the road trip is libidinous widow Laura (Sharon Stone) whose nubile daughter lives up to her namesake Lolita (Alexis Dziena). Then Dora (Frances Conroy), a former hippie-turned-suburbanite, and Carmen (Jessica Lange), an”animal communicator” whose secretary (Chloe Sevigny) is annoyed. His last visit is with Penny (Tilda Swinton), a biker whose husband beats him up. Along the way, he spots several young men who might be his son but, most significantly, he begins to get in touch with feelings that he’s buried deep inside himself. Less interested in plot than in character, Jim Jarmusch poses more questions than he answers. While the mood evokes memories of last year’s hit “Sideways,” the perplexing conundrum traces back to Joseph Mankiewicz’s 1949 “A Letter to Three Wives.” On the Granger Movie Gauge of 1 to 10, “Broken Flowers” is an ambiguous 7. Punctuated by Mulatu Astatke’s haunting jazz score, the emotional journey for something meaningful is more important than the destination.

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The Constant Gardener

Movie/TV Reviews / Susan

Susan Granger’s review of “The Constant Gardener” (Focus Features)

Timely and trenchant, Fernando Meirelles’ screen version of John Le Carre’s sociopolitical best-seller is a suspenseful, intelligent, romantic thriller that’s filled with international intrigue. The story begins in London as Justin Quayle (Ralph Fiennes), a mild-mannered, mid-level British diplomat, delivers a pompous speech which is challenged by Tessa (Rachel Weisz), an antagonistic activist. Sparks fly. Soon they’re married and off to Kenya, where he works with the British High Commission and tends his flowers while she battles the AIDS epidemic with an African doctor (Hubert Kounde). But then Tessa’s found dead, allegedly in a car accident. Grief-stricken, Justin becomes suspicious as the superficial fabric of their lives unravels. Risking his life along with his career, he reluctantly uncovers a subtle conspiracy involving pharmaceutical industry corruption that turns human suffering among Third World populations into big business. Collaborating with screenwriter Jeffrey Caine, Brazilian director Fernando Meirelles (“City of God”) effectively uses non-linear story-telling, involving flashbacks, to evoke a visceral sense of urgency. Rachel Weisz projects a searing image of ferocious indignation while Ralph Fiennes captures Justin’s controlled, ineffectual passivity. The only element lacking is chemistry between them, primarily because, as a leading man, Fiennes is so low voltage. Exemplary performances by Danny Huston, Bill Nighy, Richard McCabe, Pete Postlethwaite and Gerald McSorley, among others, lend docu-drama veracity, as does Cesar Charlone’s eye-catching cinematography and Claire Simpson’s impeccable editing. On the Granger Movie Gauge of 1 to 10, “The Constant Gardener” is a challenging, provocative 9, relentlessly delving into resonant, relevant issues.

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Supercross

Movie/TV Reviews / Susan

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

Unless you’re obsessed with danger-laden dirt biking, what an idiotic waste of time this is! Essentially, it’s a 93-minute commercial for the testosterone-driven sport of Supercross, which is explained ad nauseam so you don’t confuse it with Motocross. In this extreme exercise, motorcycle racers compete, primarily indoors, on dirt tracks laden with perilously high jumps. So there are these Carlyle brothers, K.C. (Steve Howey) and Trip (Mike Vogel), who clean pools to earn enough money to make their way to the Supercross circuit. K.C.’s more cautious and dependable, while Trip’s a foul-tempered risk-taker. Guess who gets the Japanese corporate sponsorship, even if it is as backup to Rowdy Sparks (Channing Tatum)? And what happens when one gets hurt and everything depends on the other? Meanwhile, back in the grandstands, K.C.’s got Zoe (Sophia Bush), an aspiring attorney, while Trip’s involved with Piper (Cameron Richardson), a sexy, blonde babe who also competes on the racing circuit. Her dad (Robert Patrick from “Terminator 2”) even helps the daredevil guys out when the chips are down – or their rubber is peeled, so to speak. Then there’s the nasty, greedy racing promoter (Robert Carradine). They form the competing father-figures. Displaying not a single shred of original insight on the topic of sibling rivalry, Ken Solarz, Bart Baker and Keith Alan Bernstein scribbled the flimsy, predictable retread, directed by former stuntman/Motocross racer Steve Boyum, who concentrates on the obtaining maximum celluloid footage of the dirt bikes soaring through the air before slamming into the mud. On the Granger Movie Gauge of 1 to 10, “Supercross” sputters in with an abysmal 1, spinning its wheels.

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