Movie/TV Reviews

Susan Granger’s review of “The Instigators” (Apple TV+)

 

To plug their new heist movie – “The Instigators” – Matt Damon and Casey Affleck made a You Tube video pretending to rob a Dunkin Donuts; settling for a Boston Kreme and strawberry-frosted pastry, it’s almost as lame as the film.

Friends since their Cambridge, Massachusetts, childhood, Damon and Affleck (younger brother of Ben – with whom Damon wrote “Good Will Hunting”) went back to their native Boston to film this wannabe action-comedy caper.

Desperate Rory (Damon) is a divorced, debt-ridden ex-Marine who’s so depressed because he can’t come up with the $32,480 he owes in legal fees and child support for his teenage son that his VA psychiatrist, Dr. Donna Rivera (Hong Chau), fears he might be a suicide risk.

To get that money, Rory partners with Cobby (Affleck), a wisecracking, alcoholic ex-con – also from blue-collar Quincy – in a crackpot plan to rob corrupt Beantown Mayor Miccelli (Ron Perlman) on election night.

Apparently Miccelli stores his usual 11^th-hour cash bribes in a huge office safe which is emptied regularly, so the holdup ought to go like clockwork. But – right from the getgo – they screw up. Meaning: not only are the police after them but also the Mayor’s Special Opps enforcer (Ving Rhames).

Problem is: precise Rory and impulsive Cobby are inept idiots. Riffing on “The Gang Who Couldn’t Shoot Straight,” they bicker, fumble and bumble – yet nothing about them is even remotely endearing.

Eager to get the script he co-wrote with Chuck MacLean onto the screen, Casey Affleck gave it to Damon’s wife Luciana who obviously liked it. So Damon signed on, along with director Doug Limon (“The Bourne Identity,” “Edge of Tomorrow”) who intercuts dreary male-bonding/ buddy banter with far too many generic VFX car chases, involving an appalling amount of wreckage.

Deprived of substantive characterizations, stalwart supporting actors Alfred Molina, Michael Stuhlbarg, Paul Walter Hauser, Toby Jones, Jack Harlow and Andre De Shields drift in and quickly disappear.

On the Granger Gauge of 1 to 10, “The Instigators” is a flawed, unfocused, feeble 4 – streaming on Apple TV+… don’t waste your time.

Susan Granger’s review of “Deadpool & Wolverine” (Marvel/Disney)

 

The cinematic summer of 2024 was saved by two cartoons (“Inside Out 2” & “Despicable Me 4”) and the irreverent live-action comic book adventure “Deadpool & Wolverine,” marking the return of wisecracking Ryan Reynolds’ fun-loving,  red spandex-clad pansexual antihero.

Reduced to selling used cars after being denied by the Avengers, despondent Wade Wilson still shares an apartment with Blind Al (Leslie Uggams). While celebrating his birthday with Vanessa (Morena Baccarin) and other friends, he’s abruptly summoned by Mr. Paradox (Matthew Macfadyen from “Succession”), the smarmy supervisor of the Time Variance Authority.

It seems that the death of Hugh Jackman’s ex X-Man “Logan” (2017)  tilted the world the wrong way, so it’s up to Wade to time-travel to find the real snarling, steel-clawed Wolverine – from among many variants (including Henry Cavill) – and lure him into the multi-Marvel Cinematic Universe.  So much for a coherent plotline.

But the nostalgic superhero splatter doesn’t stop with those two. There’s Jennifer Garner’s assassin Elektra, Wesley Snopes’ vampire hunter Blade, Channing Tatum’s card-tossing mutant Gambit and Chris Evans – not as Captain America – but as Johnny Storm, the Human Torch from “Fantastic Four” (2005).

And when Paradox banishes them into the desolate landscape known as The Void, they must take a few minutes off their bickering bromance to battle a bald British villainess called Cassandra Nova (Emma Corrin from “The Crown”).

The screenwriters – including Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells and director Shawn Levy – toss out one raunchy jokes after another, along with sight gags and snide inside-industry digs at now-defunct 20^th Century Fox…and wait for the post-credits montage of Fox’s Marvel movies, including an unexpected cameo.

FYI: Ryan Reynolds and Blake Lively’s children – James, Inez and Olin Reynolds – play Screaming Mutant, Kidpool and Babypool, respectively…Matthew McConaughey is Cowboypool…and, apparently, this is the first R-rated film released by Marvel/Disney. (Walt must be spinning in his grave!)

On the Granger Gauge of 1 to 10, “Deadpool & Wolverine” is a sassy. crowd-pleasing, subversively satirical 7, playing in theaters.

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

 

Filmmaker M. Night Shyamalan is known for his twisty, tension-filled thrillers, which is why it’s so odd that viewers know – right at the beginning – that doting father Cooper Adams (Josh Hartnett) is really a scheming psychotic serial killer.

Firefighter Cooper has bought pricey stadium floor seats so that his teenage daughter Riley (Ariel Donoghue) can be front and center at a Philadelphia concert featuring her favorite pop icon, Lady Raven (Saleka Shyamalan), channeling Taylor Swift.

While ecstatic Riley’s adoring attention is on the show, Cooper’s twitchy eyes shift from the roving security cameras to the extensive police presence. A cat-and-mouse game has been launched in the venue and he knows something’s afoot.

After befriending and questioning one of the concessionaires (Jonathan Langdon), cagey Cooper learns that an F.B.I. profiler, Dr. Grant (Hayley Mills), has ascertained that a fiendish, middle-aged white man known as The Butcher is somewhere in the audience.

An elaborate ‘sting operation’ has been set up all around the massive arena – with no obvious means of escape. But there are always unsuspecting relatives to charm, staff badges/keycards to steal and security passwords to discover, so there’s no doubt that slyly subtle Cooper has plenty of tricks up his sleeve.

Eventually, however, the initially intriguing psychodrama becomes a bit too implausible and illogical, particularly when Cooper’s wife Rachel (Alison Pill) surfaces. But do stay for an amusing post-credits sequence.

After his initial success with “The Sixth Sense,” writer/director M. Night Shyamalan has varying levels of acclaim/disdain with “Signs,” “Unbreakable,” “The Happening,” “The Village,” “Split,” “Lady in the Water,” “The Visit,” “Old” and “Knock at the Cabin.”

Yes, 28 year-old Saleka Shyamalan is the director’s daughter; she wrote and sang much of her own material, amplifying Herdis Stefansdottir’s score. Another daughter, Ishana Shyamalan, directed “The Watchers” (2024), which is shown on a billboard. And it’s fun to see former Disney child-star Hayley Mills – now 78 years old – come out of retirement.

On the Granger Gauge of 1 to 10, “Trap” is an implausible yet suspenseful 6, playing in theaters.

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

 

Having barely survived a monstrous Oklahoma tornado as a storm-chasing teenager, traumatized Kate Carter (Daisy Edgar-Jones) moved to New York, where she’s secured a meteorologist job with the National Weather Service, confident that cyclones aren’t going to hit Coney Island.

Five years earlier, she was obsessively trying to secure a research grant for an ambitious Ph.D. thesis that involved chemistry: i.e. neutralizing storms by absorbing the moisture trapped in their wind funnels.

Kate thought she’d left that project far behind but then her old pal Javi (Anthony Ramos) convinces her to join him for one week to get three-dimensional tornado scans using portable radar units. Javi has obtained data-collecting funding from a rich investor but needs Kate’s instinctive ability to predict propulsive storm paths.

Back in Oklahoma’s Tornado Alley, they’re surrounded by other storm chasers, a rowdy group led by cocky, boisterous “tornado wrangler” Tyler Owens (Glen Powell) who broadcasts a livestream YouTube feed in his tricked-out pickup truck as his intrepid team flies drones and shoots fireworks into the funnel of an intensifying storm.

At first, Kate and Tyler compete but then, predictably, they’re romantically involved, leaving Javi – literally – in the dust.

Director Lee Isaac Chang (“Minari’) deftly incorporates screenwriter Mark l. Smith’s action/adventure/escapist screenplay – based on a story by Joseph Kosinski – and intriguing characters with cinematogrpher Dan Mindel’s spectacular CGI action in this solid semi-sequel to Jan De Bont’s 1996’s disaster hit “Twister.”

While the words “climate change” are never spoken, questions about this unfolding crisis and weather modifications haunt scientists. Do tornadoes serve a purpose? Do thunder storms, hurricanes and flash floods? Are they simply natural phenomena that occur to alleviate energy imbalances between the poles and the Equator?  What might happen if we don’t let nature take its course?

On the Granger Gauge of 1 to 10, “Twisters” is a swirling, adrenaline-spiking 7, playing in theaters.

Susan Granger’s review of “Naked and Afraid:  Last One Standing” (Discovery Channel)

 

One of the most bizarre reality shows to surface in recent years has been the Discovery Channel’s “Naked and Afraid,” first aired in 2013. 

This popular series revolves around two contestants – usually a woman and a man – dropped into rigged, remote environments with no clothes, food or water. Their goal is to endure the wilderness for 21 days, relying on survival skills and wits.

As days pass, contestants grow weaker. Starvation and illness are real because finding food is challenging, even for the most experienced. Several have experienced food poisoning and dropped out. Hypothermia is a constant threat because being naked removes protection from heavy rains and humidity.

On the final day, there’s an arduous hike to an extraction point as viewers are updated with PSR (Primitive Survival Rating) statistics.

The first spin-off – “Naked and Afraid: Last One Standing” – is currently in its second season – set in Oribi Gorge in the northern region of Limpopo, South Africa. Contestants vie to outlast each other for 45 days to win $100,000.

Inevitably, viewers have questions about whether or not what we’re watching is ‘real’ or staged. Answers about authenticity vary:

Are they really alone? That depends. During the day, there’s a production crew but at night they leave participants alone with a diary/camera recording every move.

Are they really nude? Yes – although editors blur all their private parts. Working at computers, visual effects editors use a stylus/tablet to create an amoeba-like blur.

How far from civilization are they? Not as far as you think. They’re usually close to emergency services, often only a few miles from local inhabitants.

Where do they go to the bathroom? Anywhere they want.

Can they bring more than one personal item? Yes. Showrunners decide what they can and cannot bring.  Usual items are a machete, fire starter or metal pot. Water purifiers are not allowed but drinking water is often provided, although this is not shown to audiences. All contestants must sign a non-disclosure agreement.

Can they call for help? Contestants receive an emergency radio transmitter/walkie-talkie and whistle. They each wear a necklace with a center bead/microphone that’s connected to a wireless audio transmitter hidden in their cross-body satchels.

Are the interpersonal fights scripted? Somewhat…being in high-stress situations can naturally lead to strained relationships, which are encouraged and edited for dramatic effect.

Wild animals are shown: have they attacked? So far, no – except when a producer was bit by a pit viper and required airlifting to a local hospital.

Do contestants ever have sex? According to reports: no. They talk intimately but apparently – being dirty and tired – they lose their libido quickly.

Do the women get hygiene products? Yes – tampons are distributed for sanitary and safety reasons because blood would attract predators.

Why do some contestants “tap out”? Medical crises, hunger and loneliness.

On the Granger Gauge of 1 to 10, “Naked and Afraid: Last One Standing” is a survivalist 6 – with new episodes airing Sunday nights on the Discovery Channel through Sept. 15.

Susan Granger’s review of “Mother of the Bride” (Netflix)

 

Whatever happened to the light, frothy romantic comedy? Major studios aren’t making them anymore but some of the streamers, like Netflix, are trying.

Brooke Shields stars in “Mother of the Bride,” playing Dr. Lana Winslow, a world-renowned geneticist/single mother whose grown daughter Emma (Miranda Cosgrove) returns a day early from a trip abroad to declare she’s decided to get married in Phuket, Thailand.

Used to being in charge, judgmental-yet-supportive Lana realizes that she must take a backseat during this lavish ‘destination’ wedding which is being bankrolled by the ‘lifestyle’ social media company that ‘influencer/wannabe brand ambassador’ Emma works for.

But then Lana discovers that Emma’s fiancé RJ (Sean Teale) is the son of Will (Benjamin Bratt), the man who broke her heart back when they were in college.

Lana’s still hurt by Will’s ghosting her years ago, so she manages to physically maim him as often as possible. There are predictable pratfalls, parental rivalries, confidences exchanged by Lana’s horny, hard-partying sister Janice (Rachael Harris) and sassy gay chums (Wilson Cruz, Michael McDonald), plus a brief interlude with Lucas (Chad Michael Murray), a hunky young doctor smitten with Lana.

Meanwhile, Emma juggles her mom’s angst with the stress of dealing with Camela (Tasneem Roc), the authoritative corporate ‘brand manager’ who’s snagged a five-figure wedding dress from “the next Vera Wang” and centerpieces from the vendor “who did Meghan and Harry’s wedding.”

Written by Robin Bernheim Burger (“The Princess Switch” trilogy) and directed by Mark Walters (“Mean Girls”), there should have been many opportunities for satiric screwball comedy – reminiscent of Julia Roberts/George Clooney’s “Ticket to Paradise” – but, instead, it’s an unmitigated disaster.

Instead of wry, observational humor about falling in love ‘the second time around” and the toxic effect of Instagram/commodification of meaningful rituals like weddings, these superficially ‘pretty people’ are all bland, underdeveloped stereotypes, and each shallow, awkward scene turns out to be more predictable than the one preceding it.

On the Granger Gauge of 1 to 10, “Mother of the Bride” is a flimsy, forgettable 3, streaming on Netflix.

Susan Granger’s review of “Young Woman and the Sea” (Disney+)

 

With the rapid rise of interest in women’s sports and to tie in with the 2024 Paris Olympics, “Young Woman and the Sea” is uniquely timely, relating how Gertrude Ederle became the first woman to swim the English Channel back in 1926.

Born in New York City in 1905 to traditional immigrant German parents, Gertrude “Trudy” Ederle was a sickly child, almost succumbing to measles. She was raised in an era when girls were not allowed to swim because it was considered too strenuous.

As teenagers on Coney Island, Trudy (Daisy Ridley) and her older sister Meg (Tilda Cobham-Hervey) defied their dictatorial butcher father (Kim Bodnia) in their desire to learn to swim, aided by their determined mother (Jeanette Hain) who was afraid they might someday drown.

Descending to a tiny, indoor pool in a basement boiler room, they learned the 28-stroke American crawl from no-nonsense coach Lottie Epstein (Sian Clifford). Girls were not allowed to compete in public until an Australian team arrived in Manhattan and Trudy was able to demonstrate her remarkable ability in the water.

“To me, the sea is like a person – like a child I’ve known a long time,” Ederle once said. “I’ve never felt alone when I’m out there. Her perennial theme song was the 1921 hit “Ain’t We Got Fun.”

Stubbornly defying the rampant sexism that surrounded her, the rest, as they say, is history, culminating in Trudy’s courageous 21-mile crossing from coastal France to Dover, England – beating off thousands of stinging red jellyfish – in 14 hours, 31 minutes, besting the world record previously set by men.

Based on sportswriter Glenn Stout’s biography of the same name, it’s adapted by screenwriter Jeff Nathanson (“Catch Me If You Can”) and deftly directed by Norway’s Joachim Renning (“Kon-Tiki”).

Filmed entirely in Bulgaria on sound stages at Nu Boyuana Studios and on various Black Sea coastline locations, the remarkable cinematography is attributed to Oscar Faura (“The Impossible”).

On the Granger Gauge of 1 to 10, “Young Woman and the Sea” is an uplifting, inspiring 7, streaming on Disney+.

 

Susan Granger’s review of “My Lady Jane” (Amazon Prime Video)

 

British Royal historians note that 16 year-old Lady Jane Grey was Queen of England and Ireland for just nine days in 1553 before she was incarcerated and executed as a heretic.

As the narrator of “My Lady Jane” notes: “History remembers her as the ultimate damsel in distress….(But) What if history were different?”

In this eight-episode dramedy, created by Gemma Burgess with showrunner  Meredith Glynn – adapted from the 2016 YA novel by Cynthia Hand, Brodi Ashton and Jodi Meadows – facts are largely ignored in favor of fanciful, feminist froth.

Lady Jane’s saga begins when her father dies, leaving the family penniless. Teenage Jane (Emily Bader) is told by her imperious mother, Lady Frances Grey (Anna Chancellor), that she must wed rakish Lord Guildford Dudley (Edward Blumel) to secure their status in society.

Well educated and remarkably knowledgeable about medicinal herbs, rebellious Jane refuses and tries to run away, accompanied by her maid/BFF Susannah (Mairead Tyers), but they’re quickly caught.

That’s when she discovers that Susannah is Ethian. Scorned by pureblood humans, who are called Verities, Ethians possess a supernatural power to shapeshift into animals – as Susannah soars off as a hawk.

Ethians have been banished to scavenge on the outskirts of the realm, barely able to survive. It’s obvious in the subtext that the Ethian/Verity bigotry represents the rampant Protestant/Catholic conflict. Jane was Protestant, while her successor, Queen Mary I was a devout Catholic

Credit diverse/colorblind casting as Jane’s lifelong friend/cousin, ailing King Edward VI (Jordan Peters), is introduced, along with his constant canine companion Petunia, who warns him that he’s being poisoned; she turns out to be Ethian too.

Then there’s the King’s shrill half-sister, diabolical Princess Mary (Kate O’Flynn) – who evolves into ‘Bloody Mary’- and her lover/advisor, treacherous Lord Seymour (Dominic Cooper) who seemingly leans toward S&M.

Accompanying all the 16^th century Tudor twists, there’s a persistent indie-rock girl pop soundtrack, studded with songs like “Rebel Rebel,” “Kashmir,” and “Come Together.”

On the Granger Gauge of 1 to 10, “My Lady Jane” is a silly, slyly snarky 6, streaming on Amazon Prime.

Susan Granger’s review of “The Morning Show: Season 3” (Apple TV+)

 

With 16 Emmy nominations, “The Morning Show” has finally become a major contender in the 2024 Drama Series race as showrunner Charlotte Stoudt catapulted it into the modern-day media crisis era with its 10-episode third season.

New York City-based anchorwomen Alex Levy (Emmy nominee Jennifer Aniston) and Bradley Jackson (Emmy nominee Reese Witherspoon) are now on very different paths.

Thanks to an unexpected eleventh-hour coup, Alex outsmarted her love interest – seductive Paul Marks (Emmy nominee Jon Hamm), an Elon Musk/Jeff Bezos-like tech billionaire who tried to acquire the UBA network until Alex realized he’d been secretly surveilling her, Bradley and everyone else at UBA. Instead, the upcoming season four will find Alex working a merger with a rival news brand.

In contrast, Bradley will be facing a possible felony charge for tampering with evidence and obstructing justice related to the investigation of the Jan. 6^th attack on the Capitol. Her ne’er-do-well brother Hal (Joe Tippett) assaulted a police officer during the insurrection and Bradley, who caught the moment on-camera and withheld it in her reporting, which forced her resignation.

So Bradley could wind up in a cell, while Alex finally claims a seat in the boardroom. One of the questions the upcoming fourth season will pose is: whether the women can run things any better than the men. And how does one deal with consequences, accountability and redemption?

What will become of compelling former UBA CEO Cory Ellison (Emmy nominee Billy Crudup) who over-leveraged the company but was fired because of his questionable romantic relationship with Bradley? And will there be a place for Bradley’s now-ex, NBN anchor Laura Peterson (Julianna Margulies)?

Season three effectively dealt with underappreciated women-of-color at UBA, like Stella Bak (Emmy nominee Greta Lee) who is tired of being condescended to and Mia Jordan (Emmy Nominee Karen Pittman) who’s been so committed to her job that she’s been sleeping in the office.

On the Granger Gauge of 1 to 10, “The Morning Show” remains an exciting 8 – with all episodes streaming on Apple TV+.

Susan Granger’s review of “The Bear: Season 3” (FX/Hulu)

 

“The Bear” totally devoured the 2024 Emmy nominations, breaking a record at 23 – the most nominations ever for a comedy series. During its first two seasons, “The Bear” captivated fans and critics alike with its endearing rough-around-the-edges cast, led by Jeremy Allen White’s Carmen “Carmy” Berzatto.

Following Carmy’s ongoing uphill battle to revive and totally reinvent his Italian family’s failing Chicago beef sandwich shop, Season 3 focuses on the dysfunctional restaurant kitchen crew, particularly anxious Sydney (Ayo Edebiri) and volatile Richie (Ebon Moss-Bachrach), as they anxiously await a Chicago Tribune review that could determine the restaurant’s future.

Fed up with the toxic dynamics of the elite ‘fine dining’ kitchens in which he was trained, Carmy works at imbuing his staff with the discipline and ambition of ‘nouvelle cuisine,’ a culinary movement characterized by lighter, more delicate dishes, utilizing fresh, high-quality, seasonal ingredients, focusing on minimalism and presenting the dishes in an elegant, artistic, visually appealing manner.

For perfectionist Carmy, a James Beard Award-winner who was named a Food & Wine Best New Chef before he turned 21, his list of fine dining ‘non-negotiables’ also includes changing the entire menu on a daily basis, never repeating a dish exactly the same way.

Amid the profanity-laced performances, there are riveting if relentless cooking montages, including flashbacks recalling Carmy’s stint at Noma in Copenhagen and Daniel in Manhattan.

That’s amplified by episode-long glimpses into the character-driven backstories of grieving pastry chef Marcus (Lionel Boyce), middle-aged line cook Tina (Liza Colon-Zayas), Carmy’s pregnant sister/Bear co-owner Natalie (Abby Elliott) and their abusive mother Donna (Jamie Lee Curtis).

In 10 episodes, series creator/writer/director Christopher Storer boldly strives to destabilize every juicy segment, including elliptical references to Carmy’s love interest Claire (Molly Gordon).

This season concludes with the closing of the beloved restaurant Ever, run by charming Andrea Terry (Olivia Colman), complete with cameos from real-life A-list chefs like Daniel Boulud, Rene Redzepi, Thomas Keller, and Genie Kwon,

FYI: The tantalizing food is prepared by Chris Storer’s sister, Courtney Storer – and “The Bear” has already been renewed for Season 4.

On the Grange Gauge of 1 to 10, “The Bear: Season 3” is an ambitious, audacious 8 – with all episodes streaming on Hulu.