Movie/TV Reviews

Taking Sides

Susan Granger’s review of “Taking Sides” (New Yorker Films)

Can art ever be separated from politics? That’s the pivotal question in Istvan Szabo’s controversial drama about Wilhelm Furtwangler, the world-renowned conductor of the Berlin Philharmonic orchestra under the Third Reich. When Adolf Hitler took power in 1933, many Jewish artists fled from Germany. Others were forced out. Some barely escaped and, among them, were musicians aided by Furtwangler, who enjoyed the privilege of being Adolf Hitler’s favorite. Immediately after the war, Furtwangler was suspected of being a Nazi collaborator. Major Steve Arnold (Harvey Keitel) of the American Denazification Committee is dispatched to gather war crimes evidence against Furtwangler. Assigned to help the brash, self-righteous American are a German Jewish assistant (Moritz Bleibtreu), whose parents died in the camps, and a secretary (Birgit Minichmayr), whose father was executed for plotting against Hitler. During his interrogation, the weary, soft-spoken Furtwangler (Stellan Skarsgard) insists he’s a principled patriot who refused to leave his country, preferring, instead, to subtly protest from within while, at the same time, accepting honorary titles from Goebbels and Goering. Raising a series of moral and ethical questions, screenwriter Ronald Harwood (“The Pianist”) has adapted the real-life Furtwangler story from his stage play, which is reflected in the inherent claustrophobia of its theatrical confinement. Despite horrific film clips of Nazi atrocities, along with Keitel’s ranting and raving, the end result is surprisingly bland and ambiguous. All in all, Szabo’s “Sunshine” (1999) was more effective. On the Granger Movie Gauge of 1 to 10, “Taking Sides” is a flawed but fascinating 7. The problem with “Taking Sides” is that it never does.

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American Splendor

Movie/TV Reviews / Susan

Susan Granger’s review of “c” (HBO Films/Fine Line Features)

Awarded the top prize at Sundance this year, this is the dramatized true-life story of Harvey Pekar, a Veterans Administration Hospital file clerk in Cleveland who, inspired by the example of his pal Robert Crumb, documented the mundane, day-to-day details of his life in comic-books. Paul Giamatti plays the irascible, obsessive-compulsive Pekar, who realizes “Ordinary life is pretty complex stuff.” Hope Davis is Joyce, his depressive wife, while Madylin Sweeten is their adopted daughter. Pekar’s co-workers are a motley collection of misfits, the funniest being the slow-speaking, simple-minded Toby (Judah Friedlander), discussing “Revenge of the Nerds.” And, of course, there’s Robert Crumb (James Urbaniak), whom Pekar meets at a garage sale. With Crumb’s encouragement and illustrations, Pekar’s career as a cult cartoonist is launched. The narrative veers toward the dramatic when the dour Pekar copes with cancer for a year. Directed by the documentarians Shari Springer Berman and Robert Pulcini, the film utilizes an interesting mixed-media approach. The movie screen morphs into a comic book panel with images of the real, gravel-voiced Harvey Pekar, who narrates the film, intercut with his fictional self and his fictionalized family. There’s archival footage from Pekar’s pugnacious appearances on “Late Night With David Letterman” and a staged version of “American Splendor.” Amid the fact and fiction, Paul Giamatti delivers a tour-de-force performance, finding humor and humanity in one of life’s real losers, as does Hope Davis. On the Granger Movie Gauge of 1 to 10, “American Splendor” is a clever, imaginative 7 – getting points for originality and the soundtrack with Coltrane’s “My Favorite Things” and Chocolate Genius’ “Ain’t That Peculiar.”

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Step Into Liquid

Movie/TV Reviews / Susan

Susan Granger’s review of “Step Into Liquid” (Artisan Entertainment)

With summer quickly turning into a memory, wouldn’t it be fun to dive back into the surf? Writer/director/editor Dana Brown extends that invitation, following in the footsteps of his father, Bruce Brown, who made “The Endless Summer” (1966), followed by “The Endless Summer II” (1994). According to the Browns: “It’s not a lifestyle, it’s a life.” In this film, you’re transported into the spectacular sport of surfing. From a 21st century viewpoint, there are not only more women involved but surfing’s gone mainstream. “You can actually make a living being a surfer these days because of the sponsorship,” Brown says. “The abilities of surfers have changed, the equipment has changed – but the spirit hasn’t changed.” While you expect to find sensational surfing in Hawaii, Australia and along the California coast, freewheeling breaker-chasers get “stoked” even in the most unlikely places. There are Texans who get their thrills following in the three-mile wakes of supertankers in the Gulf of Mexico and a rowdy group who relish riding the modest swells of Lake Michigan. There’s a devotee who hasn’t missed a day in the ocean in 27 years and a paralyzed fellow who broke his back in a wipeout but is still able to return to the water with the help of his loyal surfing buddies. In Ireland, the Malloy brothers bring Catholic and Protestant youngsters together on surf boards. Plus there’s the new twist of tow-in surfing, which allows surfers catch monster waves. Using multiple cameras, helicopters and hot-shot surf-cam operators, John-Paul Beeghly’s cinematography is so spectacular that you can’t help feeling exhilarated. On the Granger Movie Gauge of 1 to 10, “Step Into Liquid” is a glorious, rapturous, celebratory 9. It’s a must-sea.

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Lost in Translation

Movie/TV Reviews / Susan

Susan Granger’s review of “Lost in Translation” (Focus Features)

Set in Tokyo, Japan, this drama explores the dilemma of loneliness in a big city. Bob Harris (Bill Murray) is a once-famous actor whose career has declined. He’s getting $2 million for endorsing a whiskey in a Japanese commercial. Stuck in a long-term marriage that’s gone stale, he’s left his wife at home in LA, along with a couple of young kids. Problem is: he’s bored and he can’t sleep. In the hotel bar, he spies twentysomething Charlotte (Scarlett Johansson), another insomniac. She’s just graduated from Yale and has accompanied her insensitive photographer husband (Giovanni Ribisi) on an assignment. Since their circadian rhythms won’t adjust to Tokyo time, they’re both aimless night prowlers, strangers discovering exotic city that seemingly never sleeps, as casual camaraderie evolves into quirky understanding and a meaningful relationship. Daughter of the legendary Francis Ford Coppola, Sofia Coppola developed the concept from a sketchy four-page outline into a 65-page script, which left lots of room for improvisation. And that’s what’s brilliant here. Patiently, she trusts her actors and cinematographer Lance Accord. Bill Murray delves deeply into his defensively conflicted character with a wry, underlying humor that is uncharacteristically subtle and superbly effective, while Scarlett Johansson (“The Horse Whisperer”) exudes a textured strength and guileless vulnerability. While she’s determined to “see the sights,” like a Buddhist monastery, glittering neon arcades and Kyoto’s gardens, they can’t fill the hollowness inside of her. Both are sad, lost souls, suffering culture-shock and a gnawing sense of displacement. On the Granger Movie Gauge of 1 to 10, “Lost in Translation” is an impressive, amazing 8 – from its stunning opening shot of a female derriere to its final credits.

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Secondhand Lions

Movie/TV Reviews / Susan

Susan Granger’s review of “Secondhand Lions” (New Line Cinema)

Every once in awhile, you see a movie you don’t know anything about and, when it’s over, you want to tell everyone you know. That’s the way I feel about “Secondhand Lions,” a haunting, heartwarming coming-of-age story, filled with quirky humor, surprises, menace and pathos. Set in rural Texas, the story begins as young Walter (Haley Joel Osment) is dumped by his irresponsible mother (Kyra Sedgwick) on the doorstep of her eccentric, elderly uncles: Hud (Robert Duvall) and Garth (Michael Caine). These cantankerous codgers have amassed a fortune and no one knows how. Some say they were bank robbers, others say ex-Mafia. Walter’s mother wants him to discover where they’ve stashed their loot, but he’s just into survival – and not being sent to an orphanage. In an old trunk, he finds a picture of a lovely, exotic lady – and then there’s the lion who takes up residence in the cornfield. Thus begins an emotional journey of discovery that’s fully realized by great casting and seamless acting. Robert Duvall’s gruff, quirky Hud has depth and poignancy, while Michael Caine’s sly, kindly Garth weaves astounding tales of honor and valor, chivalry and love, recounting their adventures in the French Foreign Legion. Hayley Joel Osment’s Walter transforms from shy insecurity to self-confidence, learning the valuable lesson that sometimes it’s better to believe in something, whether or not it’s actually true. Writer/director Tim McCanlies (“The Iron Giant”) crafts a rarity – a fun family film that’s bright enough for children and their parents. On the Granger Movie Gauge of 1 to 10, “Secondhand Lions” is a captivating, charming 9. Its sweet sentimentality makes you smile, laugh and cry, as its rousing roar rekindles the youthful spirit in all of us.

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Once Upon a Time in Mexico

Movie/TV Reviews / Susan

Susan Granger’s review of “Once Upon a Time in Mexico” (Sony Pictures/Columbia)

If you missed “El Mariachi” and “Desperado,” never fear. Robert Rodriguez re-introduces the gun-slinging, guitar-strumming balladeer (Antonio Banderas) who vows revenge for the cold-blooded murder of his beloved wife (Salma Hayek) and their young daughter. Only, this time, a cool, caustic CIA agent named Sands (Johnny Depp) steals the picture right out from under him. The somewhat incoherent plot revolves around a drug-cartel boss (Willem Dafoe), his American henchman (Mickey Rourke) and a fascist General (Gerardo Vigil) who arrange a coup d’etat in Culican province during the festive Day of the Dead celebration. Banderas’s brooding pistolero gets involved because a) General Marquez killed his family, and b) he’s a patriot who objects on general principles to the assassination of Mexico’s president. There are subplots involving his crooning mariachi sidekicks (Enrique Iglesias, Marco Leonardi), a crooked local cop (Eva Mendes), a retired FBI agent (Ruben Blades) and a botched attempt at plastic surgery. Since 1992, when he made “El Mariachi” on a $7,000 budget, Robert Rodriguez has achieved mainstream success through his “Spy Kids” franchise. Nevertheless, he still clings to his Sergio Leone spaghetti Western-inspired roots. Using a high-definition video camera, he writes, directs, scores and chops (his word for “edits”) his films from his Troublemaker studio in Austin, Texas. While this chaotic fable lacks substance, it oozes with shoot-’em-up style and explosive energy. On the Granger Movie Gauge of 1 to 10, “Once Upon a Time in Mexico” is a grotesque, fragmented 5. Sadly, however, despite second billing, sultry Salma Hayek does little more than an extended cameo appearance in memory flashbacks.

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T3: Rise of the Machines

Movie/TV Reviews / Susan

Susan Granger’s review of “T3: Rise of the Machines” (Warner Bros.)

As this super summer popcorn picture begins, future revolutionary John Connor (Nick Stahl) has been in hiding in the dark shadows of his own paranoid nightmares for more than a decade. Then his unsuspecting girl-friend (Claire Danes) is suddenly tracked down by a technologically superior killing machine, the relentless T-X, that has morphed into female form (Kristanna Loken). Following close behind is a bare, buff replicant of the now-obsolete Terminator (Arnold Schwarzeneggar), Connor’s vigilant protector, intoning: “John Connor, it is time.” Within three hours, Skynet’s sophisticated digital defense network will become self-aware and wage war on mankind. The previously postponed Judgment Day is now inevitable, but can it be survived? Writers John Brancato and Michael Ferris play off the contemporary fear that computers will dominate civilization, as in “The Matrix.” And director Jonathan Mostow (“Breakdown,” “U-571”) deftly rises to the challenge of following James Cameron, cleverly casting serious Nick Stahl and sympathetic Claire Danes, whose opening line is “I hate machines!” But aside from her evoking subtle aspects of Sarah (Linda Hamilton) from the original film, there’s not much character development. Arnold’s acting? He’s a robot. But Kristanna Loken (TV’s “Philly”) is sensational as his nemesis: the Cybernetic Queen of Mean. The imaginative stunts are awesome – from Arnold’s swinging off a monster crane driven by T-X to the climactic showdown – with special-effects kudos to Oscar-winning make-up and animatronics wizard Stan Winston. On the Granger Movie Gauge of 1 to 10, “T3: Rise of the Machines” is a spectacular 7, packing more fireworks than the Fourth of July. Adrenaline addicts are gonna love the fast-paced action.

Susan Granger's review of "T3: Rise of the Machines" (Warner Bros.)
As this super summer popcorn picture begins, future revolutionary John Connor (Nick Stahl) has been in hiding in the dark shadows of his own paranoid nightmares for more than a decade. Then his unsuspecting girl-friend (Claire Danes) is suddenly tracked down by a technologically superior killing machine, the relentless T-X, that has morphed into female form (Kristanna Loken). Following close behind is a bare, buff replicant of the now-obsolete Terminator (Arnold Schwarzeneggar), Connor's vigilant protector, intoning: "John Connor, it is time." Within three hours, Skynet's sophisticated digital defense network will become self-aware and wage war on mankind. The previously postponed Judgment Day is now inevitable, but can it be survived?
Writers John Brancato and Michael Ferris play off the contemporary fear that computers will dominate civilization, as in "The Matrix." And director Jonathan Mostow ("Breakdown," "U-571") deftly rises to the challenge of following James Cameron, cleverly casting serious Nick Stahl and sympathetic Claire Danes, whose opening line is "I hate machines!" But aside from her evoking subtle aspects of Sarah (Linda Hamilton) from the original film, there's not much character development. Arnold's acting? He's a robot. But Kristanna Loken (TV's "Philly") is sensational as his nemesis: the Cybernetic Queen of Mean. The imaginative stunts are awesome - from Arnold's swinging off a monster crane driven by T-X to the climactic showdown - with special-effects kudos to Oscar-winning make-up and animatronics wizard Stan Winston. On the Granger Movie Gauge of 1 to 10, "T3: Rise of the Machines" is a spectacular 7, packing more fireworks than the Fourth of July. Adrenaline addicts are gonna love the fast-paced action.

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Whale Rider

Movie/TV Reviews / Susan

Susan Granger’s review of “Whale Rider” (Newmarket Films)

If you enjoyed how John Sayles evoked the Irish essence in “The Secret of Roan Inish,” don’t miss Niki Caro’s contemporary fable set in New Zealand’s traditionally patrilineal Maori culture. Paikea (Keisha Castle-Hughes), called Pai, is the 12 year-old granddaughter of Koro (Rawiri Paratene), leader of the Whangara tribe, who resents her very existence. Her stillborn fraternal twin was to have continued Koro’s bloodline which can be traced back to the first aboriginal inhabitants – and legend has it that these ancestors were borne to their island home on the back of a whale. Not only did Pai survive the difficult birth that killed her mother and brother but her father (Cliff Curtis) then deserted the family for a career as an artist in Germany, returning to visit only occasionally. So the only nurturing that Pai has received during her short lifetime is from her grandmother Nanny Flowers (Vicky Haughton). Nevertheless, she is resourceful and skilled in handling weapons, diving and singing tribal chants. Above all, she is determined to take her rightful place within the tribe – a phenomenon that occurs only after the sacred whales beach themselves on the shore near their village until Pai comes to their rescue. Adapting Witi Ihimaera’s 1987 novel, screenwriter/director Niki Caro and cinematographer Leon Narbey have created a haunting, dreamlike, artistic gem, particularly when Pai sings an ancient tribal song to a dark ocean. And beautiful Keisha Castle-Hughes is a spunky young charmer with a gravity reminiscent of Anna Paquin in “The Piano.” On the Granger Movie Gauge of 1 to 10, “Whale Rider” is a mysterious, mythic 9. But – be warned – that, while the film is in English, some of the thick accents are difficult to decipher.

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Northfork

Movie/TV Reviews / Susan

Susan Granger’s review of “Northfork” (Paramount Classics)

Strictly for an art-house audience, this is a quirky American Gothic history/fantasy about a Montana town that was “dammed” by local government as part of a new hydroelectric project in 1955. A rambling, ambiguous rumination on dreams and death, loss and resurrection, it’s the final segment of the Heartland trilogy, which includes “Twin Falls, Idaho” and “Jackpot,” created by independent film-making brothers Mark and Michael Polish. The mystical story revolves around a group of six Evacuators, men in trench coats and fedoras, driving black Fords, who have been promised 1.5 acres of new waterfront property if they can each get 65 of the most stubborn residents to abandon their homes before the town of Northfork is, literally, flooded. And only 48 hours remains before the coming tidal wave. Led by a father/son team (James Woods, Mark Polish), their mission takes them to visit eccentrics including a devout polygamous family who have built an Ark. Meanwhile, a priest (Nick Nolte) tends a dying orphan (Duel Farnes), abandoned by his foster parents (Kyle MacLachlan, Michele Hicks), who hallucinates about a band of earthbound Angels, comprised of cynical Cup of Tea (Robin Sachs), mute Cod (Ben Foster), androgynous Flower Hercules (Daryl Hannah) and Happy (Anthony Edwards), an amputee with wooden hands and multi-lensed spectacles. What’s most remarkable about the imaginative eccentricity of “Northfork” is its sepia-toned photography and haunting, evocative imagery – like a submerged coffin that floats to the flood water’s surface and a wooden giraffe/dog creature on the flatlands. On the Granger Movie Gauge of 1 to 10, “Northfork” is a subtle, surreal, absurdist 6. It takes magical realism to a new level.

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28 Days Later

Movie/TV Reviews / Susan

Susan Granger’s review of “28 Days Later” (Fox Searchlight Pictures)

Horror pictures are far from my favorite genre but director Danny Boyle and writer Alex Garland make this into a doozy! Set in contemporary London, the story begins in the Cambridge Primate Research Center, as animal sympathizers inadvertently release rage-infected primates. Cut to 28 days later, when Jim (Cillian Murphy) wakes up naked in a hospital after a bicycle accident and discovers that the entire city is ominously deserted. Wandering aimlessly, he’s rescued from “infected” attackers by two fellow survivors (Naomie Harris, Noah Huntley) who explain how a deadly virus has devastated the British population. Spread by saliva or blood, it immediately incites its victim into a rabid, rage-filled zombie. “What’s the government doing about it?” he asks. “There is no government,” he’s told. Indeed, anarchy reigns. One night, they encounter a teenager (Megan Burns) and her resourceful father (Brendan Gleeson), who hears on the radio that there’s a safe haven just north of Manchester and loads the nomads into his big, black taxi to make the harrowing cross-country trek. When they arrive at the military outpost, they discover a heavily armed bunker where a megalomaniac (Christopher Eccleston) commands a few crazed soldiers who vow to protect them, if only to propagate the human species. Utilizing Anthony Dod Mantle’s eerie-yet-dingy digital video camerawork and editor Chris Gill’s image manipulation, Danny Boyle (“Trainspotting”) creates a bizarre atmosphere of grim, grotesque, apocalyptic violence, and credit John Murphy’s music for heightening the suspenseful tension. On the Granger Movie Gauge of 1 to 10, “28 Days Later” is a brutal, gruesome, scary 7. Warning: this is not for the cowardly, the squeamish or those prone to nightmares.

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