Movie/TV Reviews

Heights

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

This is the next-to-last film produced by Merchant/Ivory’s Ismail Merchant, who died in London in May. Intrigued by Amy Fox’s one-act play, he sent it to director Chris Terrio, a recent graduate of USC’s film school who had worked as an assistant on “The Golden Bowl.” It follows a half-dozen intersecting characters through a day in Lower Manhattan. There’s a domineering Oscar-winning grande dame of the theater (Glenn Close) who is rehearsing a production of “Macbeth” (while her philandering husband is sleeping with her understudy) and dealing with complicated suspicions about the temperamental fiancŽ (James Marsden) of her photographer daughter (Elizabeth Banks). Then there’s the daughter’s ex-boyfriend (Mark Davis) who arrives in town, a struggling actor (Jesse Bradford), a worldly rabbi (George Segal), a strutting director (Eric Bogosian) and a visiting journalist (John Light). But playing beneath that, there are festering, all-too-obvious secrets that some of the characters harbor. Well-acted but over-written, it’s just not very persuasive, particularly since the scenes are separated by title cards and the dialogue is insipid and banal: “TiVo turns you into a lab rat pressing buttons for more cocaine” and “Pixar is reality.” It’s the kind of sumptuous, yet modest movie that serves as a cinematic curiosity, rather than a compelling multi-character drama like “Crash.” In one scene, while bemoaning the absence of passion today, Close’s character sardonically remarks to her students, “We’re not even people of ice. We’re tap water… For God’s sake, take some risks this weekend!” On the Granger Movie Gauge of 1 to 10, “Heights” is a shallow, overly genteel 6. Let’s just call it “Withering Heights.”

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Murderball

Movie/TV Reviews / Susan

Susan Granger’s review of “Murderball” (ThinkFilm release)

Just to prove that you can’t judge a movie by its title, there’s this remarkable documentary about the contact sport that’s now called quad rugby because it’s played by quadriplegics in custom-made wheelchairs that resemble armored vehicles straight out of “Mad Max.” Filmmakers Dana Adam Shapiro and Henry Alex Rubin profile two competitors from the 2002 World Championships in Sweden. There’s fortysomething, Portuguese-American Joe Soares, who lost the use of his legs to polio in childhood; when he was cut from the U.S. team, he went north to coach their rivals: the Canadian team. And there’s thirtysomething Mark Zupan, who suffered a spinal-cord injury in a freak automobile accident when he was 18; he’s the spokesman for Team USA and one of its top scorers. Zupan took Soares’ defection personally, so the stage is set for a grudge rematch at the Paraolympics in Athens in 2004. Then there’s the more recently paralyzed Keith Cavill who, while still dazed and angry about the motor accident that changed his life, is introduced to the quad rugby wheelchair for the first time. Forget about pity and sentimentality towards the handicapped; these athletes are not only treated with respect but also with humor. They’re foul-mouthed, tough guys, fearlessly hurling themselves across the court, slamming each other to the floor again and again in an unforgiving sport. They also have remarkable insight into the human condition and are not shy about expressing themselves, delving into their off-court relationships, including their sex lives. On the Granger Movie Gauge of 1 to 10, “Murderball” is an unforgettable, hard-knock 9. These intimidating combatants have real character – and that’s what makes this film extraordinary.

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Star Wars, Episode III: Revenge of the Sith

Movie/TV Reviews / Susan

Susan Granger reviews “Star Wars, Episode III: Revenge of the Sith” (20th Century-Fox)

George Lucas saved the best for last. The final chapter of his “Star Wars” series reveals the evolution of Anakin Skywalker – from an innocent, exuberant child to the sad, corrupted hero who descends into a menacing, yet pathetic, villain who, only through death, finds redemption. Once a brave Jedi Knight, Anakin Skywalker (Hayden Christensen) is turned to the Dark Side of the Force by wily Chancellor Palpatine (Ian McDiarmid), a.k.a. Sith Lord Darth Sidious, as part of a Jedi genocide. He makes Anakin suspicious of his former Jedi master Obi-Wan Kenobi (Ewan McGregor), breaking the heart of his wife, Padme Amidala (Natalie Portman), who is pregnant with their twins Luke and Leia. After a spectacular light saber duel on the lava planet Mustafar, Anakin is so badly injured that he’s placed in that life-maintaining, black-caped outfit with its mechanical breathing device, becoming the grim Sith master of evil, Darth Vader. To reveal more details about Yoda, R2D2, Chewbacca and the Wookies would ruin the surprises. Culling from mythology, religion, and psychology, particularly Joseph Campbell’s “Hero with a Thousand Faces,” George Lucas has created a pop tragic character who struggles with issues of love, anger and a lust for power. On another level, Darth Vader embodies the man vs. machine battle in a war that has been waged since the Industrial Revolution. Once again, John Williams’ thrilling, signature music contrasts the light and dark forces. With its PG-13 rating, it’s darker, filled with fighting and definitely not for very young children. On the Granger Movie Gauge of 1 to 10, “Star Wars, Episode III: Revenge of the Sith” is an enthralling, triumphant 10, completing Lucas’ 33-year project, a significant cultural phenomenon that encompasses six feature films.

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Unleashed

Movie/TV Reviews / Susan

Susan Granger’s review of “Unleashed” (Rogue Pictures/Universal)

Forget about that “Kiss of the Dragon” fiasco. In their latest collaboration, martial-arts star Jet-Li and screenwriter Luc Besson have concocted a brutal-yet-thoughtful action thriller, directed by Louis Leterrier (“The Transporter”). Like “La Femme Nikita” and “The Professional,” this is a trained-to-be-a-killer tale. Mute and childlike Danny (Jet Li) lives in a subterranean dungeon with only a teddy bear and punching bag for company. Enslaved from childhood, he wears a collar because he has been trained to be an attack dog by Bart (Bob Hoskins), a ruthless Glasgow loan shark. Wearing the collar, Danny’s docile and curious. Unleashed, he’s feral and ferocious. One day when his “owner” is in a car accident and subsequent coma, Danny escapes and is taken in by a blind American piano tuner (Morgan Freeman) and his good-natured step-daughter (Kerry Condon), who introduce him to cooking and kindness, Mozart and vanilla ice cream. When, inevitably, the past collides with the present, the soul of this confused, simpleminded creature is caught between his savage urges and the softness of his higher aspirations. In France, this film was titled “Danny the Dog” since the fights, choreographed by Yuen Wo-Ping (“The Matrix”) are cruel and animalistic. But there’s a relevant theme couched within the bone-crunching carnage, touching on the futility of power and money when confronted with the needs of human nature. Because his character doesn’t speak much English, Li performs without language stress. As always, Freeman and Hoskins deliver credibility. On the Granger Movie Gauge of 1 to 10, “Unleashed” is an emotionally simplistic 7. But it’s not what you’d expect.

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Cinderella Man

Movie/TV Reviews / Susan

Susan Granger’s review of “Cinderella Man” (Universal Pictures)

It’s far too early to predict Oscar contenders, but “Cinderella Man” is not only the Best Picture – so far – of 2005 but I suspect voters will remember it if the DVD is timed for awards season. The Depression-era drama stars Russell Crowe (“Gladiator,” “A Beautiful Mind”) as real-life heavyweight boxing champion James J. Braddock with Renee Zellweger (“Cold Mountain,” “Bridget Jones’s Diary”) as his loving wife Mae and Paul Giamatti (“Sideways”) as his manager. Unlike many other fighters, Braddock went into the ring, not for the glory, but to support his family. When multiple injuries and bad luck sidelined him, he worked on the docks until, miraculously, he got a second chance. Writer Damon Runyon dubbed him the “Cinderella Man.” The acting is flawless, particularly the tender scenes between honorable, hard-working Jim and his oldest son Jay (Connor Price) and when he swallowed his pride and humbly went to the boxing promoters, hat-in-hand, to plea for money to pay his electricity bill. Directed by Ron Howard from a screenplay by Cliff Hollingsworth and Akiva Goldsman, it reunites cohorts from “A Beautiful Mind.” Amid the summer popcorn pictures, it’s an elegant, intelligent, inspirational, crowd-pleasing story, aimed at adult audiences. Reminiscent of Martin Scorsese’s “Raging Bull,” the boxing sequences are realistically brutal yet compelling. Since I cringe at the sport, I felt perhaps they went on too long, but that’s quibbling. Salvatore Totino’s stunning cinematography and the meticulously authentic production details evoke the working-class hardships of the early 1930s, and Thomas Newman’s music gives emotional gravity. On the Granger Movie Gauge of 1 to 10, “Cinderella Man” jabs you with a knockout 10. It’s a must-see!

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Madagascar

Movie/TV Reviews / Susan

Susan Granger’s review of “Madagascar” (DreamWorks Animation)

Heralded by “Born Free,” Alex the self-absorbed Lion (voiced by Ben Stiller) is King of the urban jungle, happily reigning over New York’s Central Park Zoo. He and his best friends – monochromatic Marty the Zebra (voiced by Chris Rock), Melman the hypochondriacal Giraffe (voiced by David Schwimmer) and Gloria the savvy, sassy Hippo (voiced by Jada Pinkett Smith) – have always been pampered, albeit in captivity. Problem is: Marty’s bored. So when some “psychotic penguins” shovel underground, trying to escape to Antarctica, he heeds their call of the wild – with his friends following close behind. When his attempt to reach rural Connecticut is foiled at Grand Central Station, animal rights activists force the zoo to crate up the quartet and ship them off to their natural habitat, a Kenya Wildlife Preserve. But when the penguins hijack the ship, they accidentally slip overboard into the sea. Joyfully reunited on a sandy beach – to “Chariots of Fire” music – the four zoo animals discover they’re on a strange island where thousands of tiny lemurs party hearty, dubbing their visitors “New York Giants.” While Madagascar looks like paradise, it becomes a treacherous world of predators and prey. The classic “fish-out-of-water” screenplay by Mark Burton & Billy Flolick and Eric Darnell & Tom McGrath is filled with deliciously wry humor – inventive both visually and verbally – and directors Eric Darnell and Tom McGrath keep up a sharp pace. The computer animation is first-rate artistry, filled with vivid, astonishing detail. On the Granger Movie Gauge of 1 to 10, “Madagascar” is a hip, hilarious, adventurous 8. A fun-filled good time for you and the kids, and the kid in you, it’s my #1 comedy choice this Memorial Day weekend.

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The Sisterhood of the Traveling Pants

Movie/TV Reviews / Susan

Susan Granger’s review of “The Sisterhood of the Traveling Pants” (Warner Bros.)

For adolescents, relationships with friends tend to be far more intimate and open than those with parents. There’s a willingness to talk about oneself, to share problems and to seek advice. Through this, young adults not only bond but also develop a clearer sense of self-identity. As story begins, four lifelong friends find a pair of jeans that, miraculously, fits each girl perfectly, even though their body types are dissimilar. Since they’re facing a pivotal summer vacation that will separate them, they decide to share the jeans, FedEx’ing them to one another, forming the “Sisterhood of the Traveling Pants.” They devise ten rules, including: “You must never wash the Pants.” “You must never let a boy take off the Pants.” “You must never double-cuff the Pants.” And “You must remember Pants=love. Love your sisters. Love yourself.” Shy Lena (Alexis Bledel) gets the Pants first since she’s off to Greece to see her grandparents. Strong-willed Bridget (Blake Lively) is going to soccer camp in Mexico. Exuberant Carmen (America Ferrera) anticipates being reunited with her father. And cynical, rebellious Tibby (Amber Tamblyn) will be working at Wallman’s (think WalMart), making a “suckumentary” about the ‘losers’ she encounters there. They’re all in for coming-of-age surprises – and lessons. Basing their tender, tear-jerking screenplay on Ann Brashares’ best-seller, Delia Ephron and Elizabeth Chandler have captured the raw, emotional honesty of the rich, colorful characters as director Ken Kwapis cleverly interweaves the truthful-to-the-core stories, evoking memories of “Stand By Me.” On the Granger Movie Gauge of 1 to 10, “The Sisterhood of the Traveling Pants” is an irresistible 8. It’s wonderful! It’s magical! It’s a movie your heart won’t let you forget.

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The Longest Yard

Movie/TV Reviews / Susan

Susan Granger’s review of “The Longest Yard” (Paramount Pictures)

When Burt Reynolds starred in the original, back in 1974, he had been a tailback at Florida State University. He knew football! With Adam Sandler wearing his “Mean Machine” jersey in this tepid remake, one can only recall “The Waterboy.” This is mucho macho miscasting! Sandler plays disgraced former NFL MVP quarterback Paul “Wrecking” Crewe, who winds up in Allenville Federal Prison after stealing a Bentley belonging to his girl-friend (Courteney Cox Arquette) and resisting arrest. Why he’s sent to Texas for a crime committed in California is never explained. But the politically ambitious warden (James Cromwell) is delighted to welcome him since he needs a football coach for his racist, steroid-gobbling, semi-pro prison guards. Crewe proposes a convicts-versus-guards game – and the deck is stacked. With the help of a wily, wise-cracking buddy (Chris Rock) and a “seasoned” veteran (Burt Reynolds), he assembles a squad of the fastest and most violent cons. “We may not have the most talented team but we will have the meanest,” Crewe vows. It’s underdog payback time, and you can guess the outcome. Sheldon Turner’s screenplay, based on Tracy Keenan Wynn’s, adapted from a story by Albert S. Ruddy, and Peter Segal’s direction softens the entire concept, dumbing-down the aggression, sinking the subtext and dulling the abrasive edge. Instead of swaggering menace, Sandler exudes a coy affability, playing to the saucy cross-dressing cheerleaders like Tracy Morgan. Rapper Nelly and pro-wrestler Bill Goldberg score, while ESPN’s Chris Berman does the play-by-play. Despite his age, Reynolds still exudes cynical cool. On the Granger Movie Gauge of 1 to 10, “The Longest Yard” is a sanitized, sentimentalized 6, grinding gridiron grit into flabby humor.

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Mr. and Mrs. Smith

Movie/TV Reviews / Susan

Susan Granger’s review of “Mr. and Mrs. Smith” (20th Century-Fox)

There’s no question that Angelina Jolie and Brad Pitt exude killer chemistry. So why is their new, lighthearted thriller weighed down with absurd action and overblown violence?The story begins with a bored suburban couple seeking marital counseling. Their problem? Communication. While they don’t exactly lie, they also don’t tell the truth, each keeping “little secrets.” She thinks he’s a construction engineer; he thinks she runs a high-tech temp agency. Actually, they’re both top assassins, working undercover for competing firms. And when they’re assigned to kill each other, their combat is the necessary spark that re-ignites their relationship.I guess I was expecting more of an updated “Thin Man”/Nick & Nora-type comedy with overtones of high-tech spy thriller. Instead, screenwriter Simon Kinberg (“XXX: State of the Union”) and director Doug Limon (“The Bourne Identity”) serve up a dollop of caustic, amusing banter – weakly reminiscent of “The War of the Roses,” “Prizzi’s Honor” and “True Lies” – that’s, literally, drowned by fiery explosions, shattering glass and crashing, ricocheting cars. It’s often difficult to decipher the dialogue through the pointless noise and body count. Despite the fast-pace, the 119-minute running time seems to drag on interminably – and inconclusively.As a leading man, Brad Pitt is great eye-candy but possesses little pizzazz. He’s blue-eyed bland. On the other hand, Angelina Jolie exudes a sleek, sexy charisma that’s irresistible. And Vince Vaughn is mildly amusing as Pitt’s cohort. On the Granger Movie Gauge of 1 to 10, “Mr. and Mrs. Smith” is an exasperatingly senseless, silly 6, saved only by sensational Angelina Jolie. And I’m sure I could live, quite comfortably, for a year on the bullet budget!

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Mad Hot Ballroom

Movie/TV Reviews / Susan

Susan Granger’s review of “Mad Hot Ballroom” (Paramount Classics/Nickelodeon)

What an unexpected delight! If you enjoyed “Spellbound,” put this on your must-see list.Every year, 6,000 pupils in New York City learn to fox-trot, swing, rumba, meringue and tango as a mandatory part of the American Ballroom Theater’s nonprofit Dancing Classrooms. This documentary follows the trials and tribulations of an irrepressible group of fifth-graders from three very different public schools as they participate in the annual citywide competition. Director/producer Marilyn Agrelo and writer Amy Sewell chose PS 150 in upscale TriBeCa, where many of the precocious children come from broken homes; PS 115 in tough Washington Heights, where it’s primarily Dominican and 97% of families live below the poverty line; and PS 112 in Bensonhurst, Brooklyn, where a traditionally Italian neighborhood is now half-Asian. Most of the diverse students are 11 years-old, just on the cusp of puberty, a time when the mysteries of the opposite sex loom large. And the film’s best moments capture the awkwardness of that adolescent angst, along with a growing sense of self-awareness and self-confidence. Certain encounters are indelible – like when a majority of boys are reluctant to make eye contact, yet there’s one who won’t stop. Add to that the passion of dedicated teachers, one of whom muses about her nimble students: “I see them turning into these ladies and gentlemen!”Credit cinematographer Claudia Raschke-Robinson, along with Agrelo and Sewell, for maintaining the children’s perspective by keeping the digital camera level with their faces. Too bad the filmmakers didn’t delve more into the students’ families and cultures, off the dance floor. On the Granger Movie Gauge of 1 to 10, “Mad Hot Ballroom” is a feel-good 9. It’s a winner.

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