Movie/TV Reviews

House of Sand and Fog

Susan Granger’s review of “House of Sand and Fog” (DreamWorks)

In this taut, top-notch psychological thriller, the lives of three fragile yet determined people become inexorably entangled in a relentlessly more volatile – and deadly – dilemma. The story begins as Kathy Nicolo (Jennifer Connolly), a recovering alcoholic, is evicted from her home on the California coast for non-payment of $500 in taxes. The shabby, mist-shrouded bungalow is seized, put up for auction and purchased by a once-wealthy but now hard-laboring Iranian ŽmigrŽ, Col. Massoud Amir Behrani (Ben Kingsley), who views the property as an investment that will secure the American Dream for his long-suffering wife (Shohreh Aghdashloo) and their teenage son (Jonathan Ahdout). Desperate, Kathy enlists the help of a Deputy Sheriff (Ron Eldard) whose loveless marriage has left him ripe for an affair. What begins as a legal battle escalates into a personal confrontation – with devastating results. Based Andre Dubus III’s best-seller, writer/director Vadim Perelman and co-writer Shawn Otto, have cleverly crafted a perfectly cast, character-driven conflict into which the audience is inexorably drawn. Ben Kingsley is an Oscar-worthy marvel, exuding stubborn conviction meshed with pride, dignity and intelligence, while Jennifer Connolly radiates dark vulnerability. However, the writing of her character has a major flaw: while she blames others, she’s clearly the victim of her own stupidity and negligence by not opening her mail. It’s difficult to feel sympathy for someone who’s that self-destructive. Roger Deakins’ cinematography is simple yet evocative, as is Maia Javan’s production design. On the Granger Movie Gauge of 1 to 10, “The House of Sand and Fog” is a chilling, suspenseful 9. It’s powerful, compelling story-telling.

House of Sand and Fog Read More »

Big Fish

Movie/TV Reviews / Susan

Susan Granger’s review of “Big Fish” (Columbia Pictures)

This is the multi-layered history of charming, irascible Edward Bloom (Albert Finney), a consummate story-teller who weaves the improbable events of his life in Ashton, Alabama, into an elaborate tapestry of tall-tales. As he lies dying, his wife (Jessica Lange) summons home their estranged son (Billy Crudup), a reporter based in Paris, who begs for the truth, asking, “Who are you?” So, in flashbacks, the wild, weird adventures of his father’s life unfold. Years ago, young Edward (Ewan McGregor), “a man intended for larger things,” embarked on an odyssey which began with a gentle giant (Matthew McGrory) and stumbling into the idyllic town of Specter. Subsequently, he befriended some quirky, colorful characters, including a circus ring-master (Danny DeVito), a rueful bank robber (Steve Buscemi), and conjoined twins (Ada & Arlene Tai). Then there’s the fanciful courtship of his wife (Alison Lohman) at Auburn. But most influential was the enchanted witch (Helena Bonham Carter) who told him that “the biggest fish in the river gets that way by never being caught,” a philosophy he quickly embraced. Adapted by John August from Daniel Wallace’s “Big Fish: A Novel of Mythic Proportions,” this innovative, inventive fable of paternal conflict revolves around the surreal visual brilliance of director Tim Burton, augmented by Philippe Rousselot’s awesome cinematography and Danny Elfman’s musical score. Does magical realism always make sense? No. But Albert Finney, Tim Burton and all the creators of “Big Fish” should be contenders for Oscar gold. On the Granger Movie Gauge of 1 to 10, “Big Fish” is a wondrous, magical 10. Reality is highly over-rated. Go for fantasy. Catch one of the best films of the year!

Big Fish Read More »

The Statement

Movie/TV Reviews / Susan

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

Set in modern-day France, this political thriller follows Pierre Bossard (Michael Caine), a cunning former Nazi collaborator who has managed to avoid confronting his treachery by hiding out with right-wing priestly protection in Catholic sanctuaries and safe houses. But his past is catching up with him as he’s diligently pursued by an impatient, impulsive, justice-seeking judge (Tilda Swinton) and an army colonel (Jeremy Northam) assigned to assist her. “Unless the truth is brought out into the open, the dead will never rest,” she explains. At the same time, however, an underground group of assassins is determined to find Brossard first, kill him and pin a “statement” to his body, identifying his murder as a justifiable act of retribution. Detailing the actual events in France that inspired Brian Moore’s 1997 novel, screenwriter Ronald Harwood (“The Pianist”) works with director Norman Jewison (“In the Heat of the Night”) to delve into the highly controversial concept of complicity, war crimes and those who commit them, specifically a man who has survived on-the-run for 44 years. Unfortunately, however, while the suspenseful script alludes to possible socio-political skullduggery, it gets quite confusing, concentrating instead on the investigation, the tense hide-and-seek chase and its predictable conclusion. Michael Caine delivers a compelling performance, albeit as a totally unsympathetic character who is unwilling to acknowledge his guilt. Veteran actors Charlotte Rampling, Alan Bates and Frank Finlay lend strong support. On the Granger Movie Gauge of 1 to 10, “The Statement” is an admirable, serious 7 with a timely, contemporary relevance, considering Iraq, Afghanistan and those prisoners being held at Gu

The Statement Read More »

Stuck on You

Movie/TV Reviews / Susan

Susan Granger’s review of “Stuck on You” (20th Century-Fox)

Talk about being well connected! Not only do Matt Damon and Greg Kinnear play conjoined twins but the Farrelly brothers have roped in Meryl Streep and Cher to play supporting roles. Fraternal twins Bob (Matt Damon) and Walt (Greg Kinnear) Tenor are joined at the hip by a flexible stretch of skin and viscera that connects one brother’s side to the other’s. Refusing to allow what others interpret as a handicap deter them, they’ve built a rich, full life within the close-knit community of Martha’s Vineyard. Refusing to risk surgery since they share a single liver, they – side-by-side – run a popular short-order grill called the Quickie Burger. Exuberant Walt has aspirations of being an actor but, unfortunately, shy Bob panics in front of an audience. Undeterred, they head to Hollywood, where Walt lands a starring role opposite the ultra-diva Cher on the hit TV drama, “Honey and the Beaze,” while Bob is compensated by being able to meet his longtime e-mail pal (Wen Yann Shih), whom he hasn’t told about his affliction. And Meryl Streep, playing herself, winds up playing a crazy cameo in their live. Gently playing with the concept of political correctness, the Farrellys flout convention once again. Actually, they came up with this bizarre idea, suggested by Charles B. Wessler and Bennett Yellin, around the time they wrote “Dumb and Dumber” before “There’s Something About Mary” and “Shallow Hal.” While there are moments of goofy humor, there aren’t enough to sustain what is, basically, a contrived, one-joke premise, although credit should go to makeup effects supervisor Tony Gardner’s clever prosthetics. On the Granger Movie Gauge of 1 to 10, “Stuck On You” is a silly, often sentimental, flimsy 5. Wait to view this lunacy on video.

Stuck on You Read More »

Peter Pan

Movie/TV Reviews / Susan

Susan Granger’s review of “Peter Pan” (Universal Pictures)

Australian filmmaker P.J. Hogan gives a distinctively contemporary twist to J.M. Barrie’s classic tale by focusing more on Wendy than on Peter. This is her adventure as much as it is his.v set in moonlit Victorian London in the cozy nursery of the Darling family home, the tale begins as 12 year-old Wendy (Rachel Hurd-Wood) gleefully relates the fanciful exploits of Peter Pan and Captain Hook to her younger brothers John (Harry Newell) and Michael (Freddie Popplewell). Unbeknownst to her, Peter (Jeremy Sumpter) is listening too, just outside the window. He loves to hear her stories. So when Wendy’s repressive parents (Jason Isaacs, Olivia Williams) and starched aunt (Lynn Redgrave) insist that she leave her carefree childhood behind and prepare for womanhood, she decides to fly off with her brothers and perpetually young Peter – courtesy of magical fairy dust sprinkled by jealous, squeaking Tinkerbell. (Ludivine Sagnier). In Neverland, the Lost Boys are waiting, along with the pirates, led by villainous Captain Hook (Jason Isaacs) and the sly Smee (Richard Briers), plus there’s this huge, menacing crocodile. This is the first live-action “Peter Pan” since the 1924 silent film, altbhough many remember the TV-special starring Mary Martin and Cyril Ritchard. Despite some uneven acting, P.J. Hogan remains faithful to novelist J.M. Barrie’s literary duality, augmenting the narrative with visuals: flamboyant, high-flying action and eye-popping CGI sequences. And, for the first time, Peter is played a real boy, which allows a subtle undercurrent of awkward, adolescent romance in his relationship with Wendy. On the Granger Movie Gauge of 1 to 10, “Peter Pan” is an energetic, exhilarating 8. It’s a familiar fantasy that’s gloriously gift-wrapped for the whole family.

Peter Pan Read More »

Cold Mountain

Movie/TV Reviews / Susan

Susan Granger’s review of “Cold Mountain” (Miramax Films)

Evoking memories of “The English Patient,” filmmaker Anthony Minghella once again explores love amidst the perils of war, this time adapting Charles Frazier’s 1997 best-seller. Set in 1864 in the South, a wounded Confederate soldier named Inman (Jude Law) decides he’s had his fill of the Civil War. Memories of his brief encounters with beautiful Ada Monroe (Nicole Kidman), the pampered preacher’s (Donald Sutherland) daughter, propel him to desert his beleaguered unit and embark on a perilous trek back to Cold Mountain, North Carolina. Like Homer’s “Odyssey,” Inman encounters eccentric, colorful characters and finds himself in bizarre situations en route. Meanwhile, on the home front, the cultured-but-now-impoverished Ada is struggling, incapable of living off the land until Ruby (Renee Zellweger), a tough, outspoken working girl, comes to her aid. Together, they manage to survive, as treacherous Teague (Ray Winstone) and his zealous enforcers are hunting down Rebel deserters and those who aid them. Despite its pretentious, episodic structure and emotional restraint, “Cold Mountain” retains its tension through multi-layered character development. Jude Law and Nicole Kidman are doggedly stalwart, but they’re often eclipsed by surprising supporting turns from scene-stealing Renee Zellweger, Kathy Baker, Philip Seymour Hoffman, Brendan Gleeson, Natalie Portman and Eileen Atkins. Production designer Dante Ferretti, editor Walter Murch and cinematographer John Seale are top-notch with special credit to Gabriel Yared who utilizes traditional mountain tunes in the melodic score. On the Granger Movie Gauge of 1 to 10, “Cold Mountain” is a chilly, cerebral 9, celebrating the triumph of hope during the grim brutality of war.

Cold Mountain Read More »

Cheaper By the Dozen

Movie/TV Reviews / Susan

Susan Granger’s review of “Cheaper By the Dozen” (20th Century-Fox)

This lackluster family comedy was the cinematic lump of coal in my Christmas stocking. Originally made back in 1950, it’s the story of how the Gilbreths, who were pioneers in time-and-motion efficiency, raised their dozen offspring by strict yet inventive mathematical techniques. That intriguing concept has been eviscerated for a moronic, slapstick version of “Parenthood.” Tom Baker (Steve Martin) is the popular football coach at a Midland College in downstate Illinois. He and his slim, trim, flirtatious wife Kate (Bonnie Hunt) live in seemingly chaotic bliss with their 11 high-spirited children; an older daughter (Piper Perabo) has left to live with her actor/boy-friend (Ashton Kutcher). Suddenly, Tom gets an irresistible job offer at a bigger university, which propels the family to move to a Chicago suburb; inexplicably, at the same time, Kate’s memoirs get published, requiring her to depart on a spur-of-the-moment book tour. That leaves Tom trying to juggle his new gridiron responsibilities with the sullen resentment of his various children at having to uproot their lives and adjust to new schools and new surroundings. Based on a bland, formulaic script by Sam Harper, Joel Cohen & Alec Sokolow and directed by Shawn Levy (“Just Married”), it’s an unfocused farce that lacks any comic edge. While affable Steve Martin exudes patience, Bonnie Hunt is simply not credible as a matriarch. Tom Welling (“Smallville”) is far too mature to be Hunt’s son, which elicits a blooper laugh during the credits. And Hilary Duff (“Lizzie McGuire”) must have been cast for her teen demographics. On the Granger Movie Gauge of 1 to 10, “Cheaper By the Dozen” is a worn-out, hand-me-down 4. This sappy, syrupy Baker’s dozen has gone stale, as reflected in Steve Martin’s final expression.

Cheaper By the Dozen Read More »

Paycheck

Movie/TV Reviews / Susan

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

Let’s just say 2003 was not Ben Affleck’s best year. In this latest thriller, he plays mild-mannered Michael Jennings, an engineering whiz who’s hired for big bucks by high-tech companies to delve into their competition’s latest technology in order to make it better and cheaper. This is a highly sensitive form of theft so, as a part of each top-secret project, he agrees to have his memory erased, both for his employer’s protection and his own. But when he awakens after working for Allcom’s billionaire owner (Aaron Eckhart), three years have passed and the $90+ million that was supposed to have been deposited in his bank account has vanished. All he has is an envelope containing 19 everyday objects, ranging from a transit ticket to a single bullet. Utilizing these seemingly mysterious items as clues, he must reconstruct what happened and why – a task that’s made even more perilous since a villainous thug (Colm Feore) from Allcom is after him, along with the FBI operatives. On the other hand, Uma Thurman (“Kill Bill”) seems to be on his side, along with Paul Giamatti (“American Splendor”). Directed by John Woo from a screenplay by Dean Georgaris, based on a 1953 short story by Philip K. Dick, it’s an absurd puzzle. Even the chase sequences, a Woo specialty, are diluted because Affleck is a cinematic light-weight as an action hero. On the other hand, the concept that the future may/can be changed by those who glimpse it – well, that’s always provocative – as is the wishful thinking that perhaps Affleck could erase the memory of “Gigli” before his re-teaming with Jennifer Lopez in the upcoming “Jersey Girl.” On the Granger Movie Gauge of 1 to 10, “Paycheck” is an inconsequential, dumbed-down 5. Fascinating theory – poorly executed.

Paycheck Read More »

The Triplets of Belleville

Movie/TV Reviews / Susan

Susan Granger’s review of “The Triplets of Belleville” (Sony Pictures Classics)

If “Finding Nemo” has any competition for the upcoming Best Animated Film Oscar, it will be from Gallic writer/director Sylvain Chomet’s distinctive, eye-popping cartoon which is so bizarre, satirical and imaginative that it almost defies description. Set in what looks like the 1950s, the story revolves around a young boy whose only companions are his devoted grandmother, Madame Souza, and faithful dog Bruno. They live in a tall house on a hill next to the elevated train tracks outside of Paris. As years pass, encouraged by his grandmother’s persistent tooting on a whistle, this lonely child pedals his way to becoming a bicycle champion. And while he’s competing in the grueling Tour de France, he’s kidnapped. As granny and the dog search, the cyclist’s trail leads them to the megalopolis of Belleville, where they meet the titular tenderhearted trio, who warble like daft, elderly Andrews Sisters. These eccentric ladies befriend Madame Souza and Bruno, inviting them to their home to dine on frogs salvaged from a nearby swamp, as they plot to foil what turns out to be the evil “French Mafia.” Evoking memories of early silent films, there is – basically – no dialogue. According to the press notes, 40 year-old artist Sylvain Chomet drew inspiration from “Tintin” comic books, the work of British animator Nick Park and actor-director Jacques Tati. Utilizing that as a base and working in Canada, Chomet gently parodies Franco-American stereotypes and caricatures cultural icons, including fabled exports like Josephine Baker and Django Reinhardt. On the Granger Movie Gauge of 1 to 10, “The Triplets of Belleville” is an amusing, audacious 9. It’s a surreal French fantasia for animation fans but – use caution – it’s adult and not meant for children.

The Triplets of Belleville Read More »

Monsieur Ibrahim

Movie/TV Reviews / Susan

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

A young Jewish boy and an elderly Muslim bond in French writer/director Francois Dupeyron’s adaptation of Eric-Emmanuel Schmitt’s novel which also became a play. Set in Paris in the 1960s, it’s the cross-cultural story of a lonely, emotionally abandoned adolescent and the kindly neighborhood shopkeeper who adopts him as the son. Living on the shabby Rue Bleue in Place Pigalle, Moses (Pierre Boulanger), nicknamed Momo, is so eager for his first sexual experience that he breaks his piggy bank to get the necessary coins. (Look for sex goddess Isabelle Adjani in a cameo.) Meanwhile, Monsieur Ibrahim (Omar Sharif), known as “the Arab” although he’s a Koran-reading Muslim from Turkey, not only supplies him with daily groceries but observes his engagingly naive behavior, becoming his mentor and commenting: “If you have to steal, I prefer you do it in my shop.” Gradually, their relationship grows and they take off for the Mideast in search of adventure. Now at 71, Omar Sharif – best remembered from “Doctor Zhivago” and “Lawrence of Arabia”- still has a vitality that dominates the screen, his dark, wide-set eyes transmitting emotion far more eloquently than dialogue. On the other hand, his wry words of wisdom, although clichŽs, are filled with pithy philosophical phrases like “What you give is yours forever. What you keep is lost for all time.” For that reason, perhaps Francois Dupeyron can be forgiven for what amounts to a somewhat abrupt and contrived conclusion to this coming-of-age parable. In French with English subtitles, on the Granger Movie Gauge of 1 to 10, “Monsieur Ibrahim” is a life-affirming, sentimental 7, and the ’60s soundtrack is worth saving.

Monsieur Ibrahim Read More »