Movie/TV Reviews

Winged Migration

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

A recent Oscar-nominee for Best Documentary, this is an astonishing exploration of the mystery of birds in flight and a plea for ecological awareness and responsibility. Director Jacques Perrin, best known for “Microcosmos” about the insect world, dispatched an international crew of more than 450 people – including 17 pilots and 14 cinematographers – to follow a variety of avian migrations through 40 countries on each of the seven continents over a period of four years. Utilizing planes, helicopters, gliders, balloons and ultra-light aircraft – but no special effects – his cameras follow alongside, above, below and in front of their subjects as they make their annual round-trips. In some cases, that journey covers more than 10,000 miles between the tropics and the Arctic. As the birds adjust to temperature changes, they apparently utilize some sort of instinctive radar, perhaps identifying landmarks – like the Eiffel Tower, Brooklyn Bridge, Arizona’s Monument Valley and Great Wall of China – on their perilous odyssey. Each species is briefly identified and the variety includes Canada geese, snow geese, greylag geese, egrets, macaws, puffins, sandhill cranes, European white storks, black-necked swans, pelicans, bald eagles, black-necked ibises, ducks, robins, albatrosses, Arctic terns and penguins. While the scenic photography is breath-taking and beautiful, as a narrator, Perrin comes up short on facts, figures and explanations. Admittedly, the taking off and landing scenes become a bit repetitive, along with the music of Bruno Coulais and vocals by Nick Cave, Robert Wyatt and a Bulgarian children’s choir. On the Granger Movie Gauge of 1 to 10, “Winged Migration” is a visually poetic, soaring 7. It’s particularly recommended for nature enthusiasts.

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The Hulk

Movie/TV Reviews / Susan

Susan Granger’s review of “The Hulk” (Universal Pictures)

This is a mythic comic-book movie about a man at war with himself and the world. Brilliant scientist Bruce Banner (Australian actor Eric Bana) has so many acute emotional problems that he’s alienated his co-worker/girl-friend, Betty Ross (Oscar-winner Jennifer Connelly). Yet it’s not until he’s accidentally blasted with gamma radiation during a nanotechnology experiment that the mean, green Hulk, who’s lurked inside of him since birth, emerges as Banner’s powerful alter-ego. (“You’re making me angry,” he warns. “I don’t think you’re gonna like me when I’m angry.”) But that’s only the superficial plot. Then there’s a complex, multi-level struggle involving Bruce’s ex-con renegade-scientist father (Nick Nolte) who altered his genetics, Betty’s estranged military-commander father (Sam Elliott) and a larcenous rival researcher (Josh Lucas). Created by Stan Lee and Jack Kirby, the Hulk first appeared in Marvel Comics in 1962 and spawned a TV series (1977-82) with Bill Bixby and Lou Ferrigno. But it’s taken the lyric sensibility of Oscar-winning director Ang Lee (“Crouching Tiger, Hidden Dragon”) and writer James Schamus to forge an emotional connection between Bruce Banner’s inner turmoil and his repressed childhood memories and to invent a poignant ending that invites a sequel. Stylistically, Ang Lee adroitly utilizes montage sequences and splits the screen into panels, showing several images at once. And while ILM’s 15′-tall, rage-filled Hulk is reminiscent of King Kong, don’t expect a CGI character with the depth of the Gollum in “Lord of the Rings.” On the Granger Movie Gauge of 1 to 10, “The Hulk” is an unexpectedly intense, engaging 9. It’s not only this summer’s blockbuster creature-feature but it also cleverly fuses pop culture with psychodrama.

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Alex & Emma

Movie/TV Reviews / Susan

Susan Granger’s review of “Alex & Emma” (Warner Bros.)

Kate Hudson is Hollywood’s newest Golden Girl whose face adorns numerous magazine covers, and sexy Luke Wilson’s wry smile has set hearts a-flutter both on and off the screen. So why they chose this only moderately amusing romantic comedy is, indeed, a mystery. Structured like “Adaptation,” but without the orchid-hunter, it’s the story of an eccentric writer, Alex (Wilson), whose gambling debts have led to the destruction of his computer and endangered his life. In order to pay off Cuban Mafia thugs in 30 days, he must finish his novel about the powerlessness of being in love. So he hires a stenographer, Emma (Hudson), who has her own ideas about his fictional characters. Soon their life in Boston begins to imitate the art he’s creating. Set in 1924, the novel-within-the-movie is about a teacher, Adam (Wilson), who takes a sabbatical from Andover to travel to St. Charles island to tutor the children of a frivolous, French fortune-hunter Polina Delacroix (Sophie Marceau), who finds him fascinating. But he’s also attracted to her alluring au-pair (Hudson). Which woman will he choose? According to director/producer Rob Reiner, screenwriter Jeremy Leven (“The Legend of Bagger Vance”) loosely based the idea on the real-life drama that propelled Fyodor Dostoevsky’s writing of “The Gambler.” Like Alex, Dostoevsky was a bettor who fell in love with his stenographer. In their various incarnations, both Kate Hudson and Luke Wilson are engaging, and I suppose if there hadn’t been Charlie Kaufman’s “Adaptation,” the off-beat concept would have been innovative. On the Granger Movie Gauge of 1 to 10, “Alex & Emma” is a sweet if insipid 5. A romantic triangle-times-two equals only a moderately captivating date movie.

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Caesar

Movie/TV Reviews / Susan

Susan Granger’s review of “Caesar” (four-hour TNT mini-series: June 29th and 30th)

Julius Caesar is one of history’s most fascinating and flawed figures. Filled with boundless ambition, his self-glorifying military exploits were legendary, as were his romantic liaisons. Finally, however, he was felled by his arrogance. This epic four-hour mini-series explores his background, his obsessive behavior and what led to his demise. A great leader, his commitment to politics compromised his personal life, which has a compelling contemporary relevance. The story begins as the tyrannical Sulla (Richard Harris) crowns himself King of Rome, launching a dictatorship distasteful to brooding young Julius Caesar (Jeremy Sisto), a champion of social reform. In the Senate, Cato (Christopher Walken) is Caesar’s harshest critic and Mark Antony (Jay Rodan) is his trusted cohort, while Brutus (Ian Duncan), married to Cato’s daughter (Kate Steavenson-Payne), is his friend-turned-betrayer. Pompey (Chris Noth), Sulla’s General, is Caesar’s ally, marrying Caesar’s daughter (Nicole Grimaudo), before becoming his arch-enemy. Cornelia (Daniela Piazza) is Caesar’s 1st wife, while Calpurnia (Valeria Golina) is his 3rd wife. Written by Craig Warner and Peter Pruce, directed by Uli Edel, this complicated character-study devotes too much time to the Gallic Wars and too little to political intrigue, particularly Caesar’s self-destructive involvement with Egypt’s Queen Cleopatra (Samuela Sardo). While the gruesome battle scenes are impressive, the choppy continuity is disconcerting and the make-up is remarkably unflattering. On the Granger Movie Gauge of 1 to 10, “Caesar” is a curious 5 as Cliff Notes of ancient history. On TNT, Part I premieres at 8 p.m. on Sun., June 29th, with Part II at 8 p.m. on Mon., June 30th. Encores are scheduled at various times during those two days.

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Capturing the Friedmans

Movie/TV Reviews / Susan

Susan Granger’s review of “Capturing the Friedmans” (Magnolia Pictures)

Where do documentary film-makers find inspiration? Andrew Jarecki, who co-founded Moviefone, was interviewing David Friedman (a.k.a. Silly Billy) about being a children’s party clown when he discovered a far more provocative story: namely, that Friedman’s father and brother had played pivotal roles in a Long Island sex, lies and videotape scandal back in 1987.. A popular high school teacher, Arnold Friedman, and his three sons were in the habit of videotaping themselves around the house, doing whatever it was that came naturally to them, recording good moments and bad. It was their chosen form of communication. And the intimate footage turned out to be so revealing that Arnold Friedman and his son Jesse were charged with molesting dozens of youngsters in the town of Great Neck. But were they really guilty? Andrew Jarecki utilizes the Friedman family film clips, along with detailed interviews, to paint a devastating cinematic portrait of a truly dysfunctional family. The Friedman scandal erupted when Arnold was caught in a post-office sting that led to a raid which netted a cache of child pornography. It was then discovered that he ran after-school computer classes in his basement and former students came forth with graphic accounts of molestation that had allegedly occurred. But are these tales credible? Or were they embellished by police pressure and mass hysteria? The documentary concludes by noting that Arnold died in prison, Jesse served his sentence and David Friedman is now Manhattan’s most successful party clown. On the Granger Movie Gauge of 1 to 10, “Capturing the Friedmans” is a disturbing, ambiguous 8. But there’s no question that the Friedman family dynamics makes the Osbournes seem tame by comparison.

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Charlie’s Angels: Full Throttle

Movie/TV Reviews / Susan

Susan Granger’s review of “Charlie’s Angels: Full Throttle” (Columbia Pictures)

Since the original “Charlie’s Angels” movie made nearly $260 million worldwide, a sequel was inevitable and its trio of playful, sexy, butt-kicking stars are back – Drew Barrymore as Dylan, Cameron Diaz as Natalie and Lucy Liu as Alex – along with director McG. This time, the Angels’ boss, Charlie (voiced by John Forsythe), asks them to retrieve a pair of titanium rings encoded with the new identities of everyone in the Federal Witness Protection Program. Dylan’s in particular danger since a killer ex-boyfriend (Justin Theroux) is after her. And there’s a former-now-fallen Angel, villainous Madison Lee (sleek, sensational Demi Moore) with her own agenda. Basically, the Angels are heavily into having a good time, changing costumes with almost every scene and revealing as much skin as possible within a PG-13 rating. While the publicity makes much ado about the buffed Angels performing their own stunts, if you look closely at the wirework, you’ll realize there are lots of quick cuts and close-ups, augmented by the cacophonous noise, blaring soundtrack and “Matrix” bullet-time motion. McG’s hyperkinetic music video background must have come in handy with the editing. Bill Murray’s gone, replaced by Bernie Mac as his brother Bosley – and for more Y-chromosomes, there’s Crispin Glover as the silent Thin Man, Brazil’s Rodrigo Santoro as an assassin, John Cleese as Alex’s father, Matt LeBlanc as Alex’s boyfriend and Luke Wilson as Natalie’s live-in lover. In cameos, Bruce Willis pops up as a federal agent and Jaclyn Smith as Kelly Garrett, an original 1970’s TV angel. On the Granger Movie Gauge of 1 to 10, “Charlie’s Angels: Full Throttle” is a fresh, fun-filled, frenetic 7, propelled by action if not acumen.

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Sinbad: Legend of the Seven Seas

Movie/TV Reviews / Susan

Susan Granger’s review of “Sinbad: Legend of the Seven Seas” (DreamWorks)

“I pull one tiny thread and the whole world unravels into chaos. Let the games begin!” chortles the wickedly mischievous, sultry Goddess Eris (Michelle Pfeiffer). And so begins this animated Arabian Nights-meets-the Greek fable of Damon & Pythius. Sinbad (Brad Pitt) is a swash-buckling pirate who covets the most precious object in the world: The Book of Peace. He’s about to swipe it when he discovers a childhood friend, Prince Proteus (Joseph Fiennes), has guaranteed its safe delivery to Syracuse. Sinbad’s a rogue but – to his dismay – he has some scruples so he passes up the opportunity. Loving to stir up trouble, the villainous Eris, disguised as Sinbad, steals the precious Book. When Sinbad is blamed and sentenced to die, noble Proteus offers to take his place so Sinbad can retrieve the sacred text before the scheduled execution. But when Sinbad sets sail for Tartarus, Eris’ domain, he finds a stowaway, Proteus’ feisty fiancee Marina (Catherine Zeta-Jones), who’s eager for adventure. Written by John Logan and directed by Tim Johnson and Patrick Gilmore, there are several really exciting sequences as they battle Eris’ “pets”: a sea monster, waves of sand, and Roc, a huge snowbird – all inspired by constellations from the night sky. And after being told, “A ship is no place for a woman,” it’s brave Marina who steers Sinbad and his besotted crew away from the watery, seductive Sirens. Inevitably, romantic sparks fly as Sinbad and Marina engage in battle-of-the-sexes banter. Combining atmospheric CGI backgrounds with superbly hand-drawn figures, the animation is breath-taking. On the Granger Movie Gauge of 1 to 10, “Sinbad: Legend of the Seven Seas” is a free-wheeling, fun-filled, eye-popping 8. Set sail for a summer adventure!

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Legally Blonde 2: Red, White & Blonde

Movie/TV Reviews / Susan

Susan Granger’s review of “Legally Blonde 2: Red, White & Blonde” (MGM)

The good news is that Reese Witherspoon is back as smart ‘n’ savvy Elle Woods, recent Harvard Law School grad and soon-to-be-married in Fenway Park to a professor (Luke Wilson) who adores her even more than the Boston Red Sox. But when she’s summarily fired for defending Bruiser, her precious short-haired Chihuahua, she’s off on a crusade to ban animal testing in the cosmetics industry. It’s “Ms. Elle Goes to Washington” (complete with classic Jimmy Stewart film clips) as this fearlessly pretty-in-pink Capitol Barbie lands a job with a Congresswoman (Sally Field), who predictably betrays her, growling “I’ll get her and her little dog too,” like the wicked witch in “Wizard of Oz.” Undaunted, Elle perseveres with the help of her dauntless doorman Sid (Bob Newhart), chirping: “Is bill-writing super-fun, or what?” The bad news is that too much is recycled and derivative. You’ve already seen the best laugh (“Too Nancy…too Hillary..too Monica…Too perfect for words!”) in the theatrical trailer. Screenwriter Kate Kondell rehashes the dumb blonde humor of the original, utilizing Jennifer Coolidge as Elle’s beautician chum along with silly sorority sisters Jessica Cauffiel and Alanna Ubach as, once again, the squealing Delta Nu’s come to the rescue. Directed by Charles Herman-Wurmfeld (“Kissing Jessica Stein”), the only new gag is Elle’s discovery that her beloved Bruiser is gay, since he’s in love with a male Rottweiler owned by a Southern Conservative Congressman (Bruce McGill). On the Granger Movie Gauge of 1 to 10, “Legally Blonde 2: Red, White & Blonde” is a sunny, sweet, summer 6 – but never underestimate the box-office appeal of a woman with a French manicure, awesome Jimmy Choo shoes and a Harvard Law degree.

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Laurel Canyon

Movie/TV Reviews / Susan

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

Frances McDormand is well on her way to being type-cast as a mother who embarrasses her son. She was hilarious in “Almost Famous” and now she’s a legendary fortysomething Los Angeles record producer named Jane who’s still sowing her wild oats. Her latest conquest is a pretentious BritPop singer (Alessandro Nivola) who’s barely fazed when Jane’s yuppie son Sam (Christian Bale), a psychiatrist-in-training, and his prim, petulant fiancee Alex (Kate Beckinsale) appear on the doorstep, having just graduated from Harvard Medical School. Typically, Jane had offered to lend them her LotusLand house for the summer but then realized she had a CD to finish and couldn’t vacate. So despite Alex’s doubts, the young couple move in and, predictably, Alex becomes intimately involved with Jane’s swingin’ sex life. At the same time, Sam is dazzled by a sexually predatory second-year resident (Natascha McElhone). Seduction abounds. Writer/director Lisa Cholodenko obviously relishes the lurid, bohemian lifestyle. While Jane is hardly the nurturing mother Sam craves, she’s an impulsive, boozy, bisexual hedonist who slurps vegetable juice, smokes pot, sleeps late, spews foul language and relishes living – a sexy, tough role that Frances McDormand envelops with obvious glee. Her high-octane portrayal of this free spirit is the best part of the picture. Both Sam and Alex are written as boring characters so it’s not surprising that the actors have a difficult time making them interesting or even empathetic. Curiously, Chodolenko’s first feature, “High Art,” had a similar character-arc flaw and dreary lack of resolution. On the Granger Movie Gauge of 1 to 10, “Laurel Canyon” is a cheerfully decadent 6, a kinky soap opera that bubbles with a pretentious Freudian froth.

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Basic

Movie/TV Reviews / Susan

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

John Travolta’s been a star for 28 years now so he’s had some hits and some misses. This tepid, tiresome thriller about military intrigue falls in the latter category. Travolta plays Tom Hardy, a rogue ex-Army Ranger-turned-DEA agent, who’s recruited by Col. Bill Styles (Tim Daly) to join Lt. Julia Osborne (Connie Nielsen), a by-the-books provost marshal, to investigate why four Army rangers disappeared in the rainy Panamanian jungle during a routine exercise. Leading three recruits was brutal, sneering Sgt. Nathan West (Samuel L. Jackson) under whom Hardy once served. A fourth trainee was found dead, a fifth (Giovanni Ribisi) was wounded, while a sixth (Brian Van Holt) is in custody as a prime suspect. While both survivors acknowledge that West and the others are dead, they tell two very different tales about what happened in the dark on the training mission and who is at fault. Then there’s the ever-prevalent drug problem: Hardy is under suspicion of accepting bribes from local drug dealers and Pete Vilmer (Harry Connick Jr.), the highest-ranking base doctor, may be peddling drugs to the troops. Screenwriter James Vanderbilt and director John McTiernan combine “Courage Under Fire” with “Roshomon,” tossing in Sun Tzu’s “The true warfare is deception…,” meaning that there may be several truths. There’s the truth we see and then there’s the truth behind it. One appears to be reality; the other is reality. And the rest is just a convoluted, contrived conspiracy that’s revealed in flashbacks. As for the touted “reunion” of memorable “Pulp Fiction” co-stars Travolta and Jackson, forget it; they share little time on-screen together. On the Granger Movie Gauge of 1 to 10, “Basic” is a slick, shallow 5 that leaves you with more questions than answers.

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