Susan Granger’s review of “The Hunger Games: Mockingjay, Part 1” (Lionsgate)
How often have you heard movie-goers complain that parts of their favorite book were cut in the movie version? That’s not true of this third installment in the dystopian action adventure.
Every grim detail of Suzanne Collins’ final book in her best-selling YA trilogy has been faithfully rendered by new-to-the-series screenwriters Peter Craig and Danny Strong – in order to pad it out until next year’s conclusion.
Having been rescued from her second Hunger Games, the Quarter Quell, by a rebel alliance, Katniss Everdeen (Jennifer Lawrence) is sequestered in District 13’s subterranean hideout. Her home, District 12, has been reduced to rubble, although her beloved little sister Prim (Willow Shields) and mother escaped.
Led by steely-eyed, ambitious President Alma Coin (Julianne Moore) and the former gamemaker-turned-advisor, Plutarch Heavensbee (Philip Seymour Hoffman, who died while “Mockingjay” was in production), the insurgency is preparing to liberate Panem’s Capitol from vicious, oppressive President Coriolanus Snow (Donald Sutherland). And brave, bow-wielding Katniss becomes their symbolic Mockingjay, the defiant figurehead of the revolution.
“Revolutions are like fires: they need to be nurtured,” explains Plutarch.
Cloaked in a drab, funeral pallor, there are few battle sequences and none of the glitzy costume changes of “Catching Fire,” although ever-chirpy Effie Trinket (Elisabeth Banks) tries her best. Instead, director Francis Lawrence concentrates on feisty Katniss’ inner turmoil, as she’s torn between loyal Gale Hawthorne (Liam Hemsworth) and her confidante/partner Peeta Mellark (Josh Hutcherson), who is being held captive. Plus there are preparations for the climactic battle between the two contending forces.
Woody Harrelson is back as Katniss’ alcoholic mentor Haymitch Abernathy, as is Sam Clafin as her District 4 friend Finnick Odair and Stanley Tucci as TV inquisitor Caesar Flickerman. New to the cast are Natalie Dormer (TV’s “Game of Thrones”) as media director Cressida with Wes Chatham and Eden Henson as her cameramen, Castor and Pollux.
On the Granger Movie Gauge of 1 to 10, “The Hunger Games: Mockingjay, Part 1” is a dour, dreary, disappointing 5, milking every last dime out of the franchise’s devoted following.
Susan Granger’s review of “The River” (Circle in the Square 2014-2015 season)
Without Hugh Jackman, Jez Butterworth’s murky new play might run in a tiny off-Broadway theater for, perhaps, two weeks. Because Jackman’s charisma is what keeps it afloat, particularly given the intimacy of Circle in the Square, where audience members have an up-close-and-personal connection.
Jackson plays an intense, unnamed Man who is obsessed with finding love and fly-fishing. To that end, he has brought a Woman (Cush Jumbo) to his isolated cabin on the banks of a river to join him on a very special, moonless, late-summer night when the sea trout are running. Despite his romantic entreaties, she’s peevishly reluctant, yet she agrees to accompany him, only to slip away in the dark. Enter the Other Woman (Laura Donnelly), a mysterious presence from the past who complicates matters in the present. Love – it appears – is as elusive as the silvery trout that the Man envisions.
Playwright Jez Butterworth scored big with the cryptic tragicomedy “Jerusalem” back in 2009, so this 85-minute lyrical meditation on the tenuousness of love seems trivial in comparison. And since it’s so realistically staged by director Ian Rickson, including the Man’s gutting and stuffing a fresh fish, the narrative flights of fancy – quotations from the poetry of Ted Hughes and William Butler Yeats – seem even more stilted and artificial, along with the symbolic Celtic imagery. What’s missing is a sense of mystery and, perhaps, menace – which would have made it far more compelling.
The open-sided setting designed by Ultz is interesting with lighting by designer Charles Balfour and intriguing night sounds by Ian Dickinson of the Autograph design team.
Jez Butterworth splits his time between stage and screen. This year he also wrote the James Brown biopic “Get On Up” with his brother John Henry, along with Tom Cruise’s “Edge of Tomorrow.”
FYI: While ardent Jackman fans are told to shut off (not just silence) their cellphones and cameras during the performance, they’re given ample opportunity to snap away when the genial, gracious actor comes forth to do an AIDS charity pitch for Broadway Cares after the curtain calls.
“The River” will run at Circle in the Square through February 8, 2015.
Susan Granger’s review of “Wild” (Fox Searchlight Pictures)
Reese Witherspoon has a lock on a Best Actress nomination, delivering her most fearless performance since she won an Oscar for “Walk the Line.”
This adaptation of Cheryl Strayed’s best-selling memoir follows the author’s grueling 1,100-mile solo hike along the Pacific Crest Trail from the Mojave Desert near the Mexican border to the mountains of Oregon and Washington. Determined to leave behind the drug abuse and sex addiction that torpedoed her marriage following the death of her mother, Cheryl (Witherspoon) embarks on her own cathartic walkabout.
Weighed down by an overstuffed backpack and too-small hiking boots, woefully unprepared Cheryl trudges into the wilderness, resisting relentless urges to give up. Frequent, non-linear flashbacks fuel her determination, particularly emotional memories of her spunky, ever-optimistic mother, Bobbi (Laura Dern), who walked out on an abusive husband to raise Cheryl and her younger brother by herself, only to succumb to lung cancer at the age of 45.
Adapting Cheryl Strayed’s “Wild: From Lost to Found on the Pacific Crest Trail,” author/screenwriter Nick Hornsby (“About a Boy,” “An Education”) and director Jean-Marc Valee (“Dallas Buyers Club,” “The Young Victoria”) deliver an emotionally volatile character study, augmented by colorful supporting characters, evocative imagery and magnificent vistas. Using only available light, “Wild” was filmed outside by cinematographer Yves Belanger, capturing amazing sunrises and vivid sunsets, while dropping unabashed plugs for REI camping supplier and Snapple.
After flops like “This Means War” and “How Do You Know,” Reese Witherspoon was floundering in a rom-com crevasse. So her company, Pacific Standard, started investing in properties with strong female roles. Her first hit as a producer was “Gone Girl”; she’d hoped to play the lead until director David Fincher decided on Rosamund Pike. Then came “Wild.” Now, Witherspoon’s working on Kimberly McCreight’s “The Outliers” about people with unusual powers and M.A. Larson’s “Pennyroyals’ Princess Boot Camp” about warrior princesses.
FYI: Laura Dern is actually only nine years older than Reese Witherspoon.
On the Granger Movie Gauge of 1 to 10, “Wild” is a compassionate 7, an arduous, stream-of-consciousness journey of self-discovery.
Susan Granger’s review of “Whiplash” (Sony Pictures Classics)
Writer/director Damien Chazelle (“Guy and Madeline on a Park Bench”) draws on memories of his own days as a music student to create this compelling coming-of-age drama about a prodigy whose ambition is to be a celebrated jazz drummer, another Buddy Rich or Gene Krupa.
19 year-old Andrew (Miles Teller) is a first-year student at a prestigious Manhattan musical conservatory. Obsessively driven to succeed, partly by the failure of his ineffectual father’s (Paul Reiser) writing career, Andrew impresses everyone who listens to him, particularly instructor Terence Fletcher (J.K. Simmons), whose abortive music career has made him embittered and resentful of kids with potential.
Clad in black, Fletcher is an impatient, sadistic perfectionist who not only bullies and belittles his pupils but also pits them against one another by ruthlessly forcing them to compete for a spot in the school’s elite jazz band. So Andrew must contend with both a fellow newcomer (Austin Stowell) and an upperclassman (Nate Lang), while Fletcher cruelly accuses him of being a “retard,” “pansy ass” and “tonal catastrophe.”
Citing tough love, sociopathic Fletcher’s excuse is that his job is “to push people beyond what was expected of them.” He says the two worst words a teacher can say to a student are “Good job.”
Succumbing to Fletcher’s monstrous “practice” imperatives, Andrew relinquishes his girlfriend (Melissa Benoist) and all semblance of a normal life. But it’s odd that there’s no scene showing the tormented students commiserating with one another, since 29 year-old Damien Chazelle stresses the “anything for art” theme that has propelled cinematic stories going back to Michael Powell’s “The Red Shoes” (1948), starring Moira Shearer.
Likeable Miles Teller fulfills the promise of his work in “The Spectacular Now,” while veteran character actor J.K. Simmons delivers a flawless supporting performance.
(FYI: the title comes from a compelling composition by the late Hank Levy, which Miles Teller plays, along with Duke Ellington’s “Caravan.”)
On the Granger Movie Gauge of 1 to 10, “Whiplash” is an abusive yet electrifying 8, defining the parameters of artistic sacrifice.
Susan Granger’s review of “Dumb and Dumber To” (Universal Pictures)
More and more, Hollywood is looking back to its future. Understand that there’s a fine line between a reboot – which is a new take on an old concept – and a sequel. Since the original twosome is back and this story picks up after the 1994 original, it’s a sequel.
As it begins, Harry Dunne (Jeff Daniels) desperately needs a donor for a kidney transplant. When he finds a 23 year-old postcard from an old flame, Fraida Felcher (Kathleen Turner), informing him that she’s pregnant with his child, Harry and his buddy Lloyd Christmas (Jim Carrey) discover that Fraida gave the baby girl up for adoption, but she shows them a recent photo of Penny (Rachel Melvin), a smokin’ hot babe. Lloyd convinces Harry to try to find Penny, ostensibly to donate a kidney but also because he’s smitten with the way she looks: “She’s fruit of the loom.”
What the perennial pranksters don’t know is that someone else is also searching for Penny, a killer (Rob Riggle) who’s in cahoots with Penny’s scheming stepmom (Laurie Holden), who is slowly poisoning Penny’s wealthy adoptive father, a Nobel Prize-winning scientist (Steve Tom).
After “Dumb and Dumberer: When Harry Met Lloyd” (2003) flopped, directors Peter and Bobby Farrelly (“There’s Something About Mary,” “Three Stooges”) realized that their franchise really depended on re-igniting the imbecilic chemistry between Jim Carrey and Jeff Daniels, even though 20 years has passed.
Despite (or perhaps because of) input from six credited screenwriters, it’s ironic that the actors seem to be having more fun with the moronic, mistaken identity slapstick than the audience. Blind jokes and fart jokes abound, along with pee and poop jokes.
Instead, catch Jeff Daniels as the anchorman on TV’s “The Newsroom.” And, if you really want funny, go to YouTube and watch Jim Carrey mock Matthew McConaughey’s Lincoln commercials on the Halloween edition of “Saturday Night Live.”
On the Granger Movie Gauge of 1 to 10, “Dumb and Dumber To” is a disappointing, tedious 2, ineptly trying to reprise the vulgarity and sophomoric humor.
Susan Granger’s review of “The Imitation Game” (The Weinstein Company)
Locking an Oscar nomination as Best Actor, Benedict Cumberbatch brings to life the story of Alan Turing, the obsessive genius who cracked the German Enigma code during W.W.II.
As the Luftwaffe bombed London and German U-boats were sinking ships in the Atlantic, brilliant but troubled Alan Turing, was recruited to join five other mathematicians in Hut 8 of the undercover facility at Bletchley Park in Buckinghamshire to try to crack the Nazis’ complex military code which defied decryption by changing every night at midnight.
Awkwardly anti-social, Turing’s blunt, condescending rudeness immediately alienates Commander Alastair Denniston (Charles Dance) and his colleagues (Matthew Goode, Allen Leech and Matthew Beard). Nevertheless, he builds digital ‘thinking’ device, an artificial intelligence that’s obviously an early computer – with the help of Joan Clarke (Keira Knightley), the only woman judged bright enough to associate with the code breakers. That leads to a conundrum, as outlined by MI6’s shadowy Maj. Gen. Stewart Menzies (Mark Strong): Enigma must remain top-secret because if the Allies thwart too many German attacks, the enemy will become suspicious and adopt another code.
Based on Andrew Hodges’ 1983 biography of Alan Turing, screenwriter Graham Moore begins the character study in 1951, when Turing was charged with “gross indecency,” a British euphemism for homosexuality; within this framing device, Moore calculatedly inserts insightful flashbacks showing how Turing was bullied during his formative school years and traces his burgeoning friendship with an understanding schoolmate who introduced him to cryptograms. Norwegian director Morten Tyldum (“Headhunters”) steadfastly struggles to maintain suspense, introducing a subplot about a spy possibly infiltrating the team, and then tying the plot strands together with a tragically shocking conclusion.
Benedict Cumberbatch has already proven his versatility, embodying TV’s Sherlock Holmes, Australian anarchist Julian Assange in “The Fifth Estate,” and the slow-witted son in “August: Osage County.” Here, he exudes a compelling arrogance that adroitly masks his wounded vulnerability
On the Granger Movie Gauge of 1 to 10, “The Imitation Game” is an engrossing, if emotionally evasive 8, featuring Cumberbatch’s exceptional performance.
Susan Granger’s review of “Rosewater” (Open Road)
What did Jon Stewart do on his three-month hiatus from “The Daily Show”? He wrote and directed this political drama, adapted from Newsweek correspondent/broadcast journalist Maziar Bahari’s best-selling memoir, “Then They Came for Me: A Family’s Story of Love, Captivity, and Survival.”
As it begins, 42-year old Bahari (Gael Garcia Bernal), who holds Iranian/Canadian citizenship, arrives in Tehran to interview Mir-Hossein Moussavi, who was challenging controversial incumbent Mahmoud Ahmadinejad in the 2009 election. Befriended by his driver (Dimitri Leonidas), Bahari is able to video Moussavi’s young supporters protesting Ahmadinejad’s declaration of a “landslide victory” hours before the polls closed.
Immediately afterwards, Bahari was taken from the home of his mother (Shohreh Agdashloo) by Revolutionary Guards and accused of espionage by the Islamic Republic. Spending the next 118 days in solitary confinement in Evin Prison, surreally haunted by the ghost of his father (Haluk Bilginer), who had been imprisoned by the Shah in 1953, Bahari was brutally interrogated and tortured by Jabadi (Kim Bodnia) who blindfolded Bahari could only identify by his rosewater-scented cologne. The pace during particular section slogs far too much.
Meanwhile in London, Bahari’s pregnant wife (Claire Foy) led an international campaign to obtain his freedom, which was picked up by media outlets, including Comedy Central’s “The Daily Show.” Eventually, Iranian authorities released Bahari on $300,000 bail and the promise he would act as a spy for the government.
Making his screenwriting/directorial debut, Jon Stewart acquits himself admirably, even tossing in a few New Jersey jokes. The challenge when making a political drama is to intrigue the audience without appearing didactic. And this concept is particularly pertinent, given ISIS’s capture, torture and beheadings of journalists.
Jon Stewart, cinematographer Bobby Bukowski and a mostly Arabic crew filmed in Amman, Jordan, in 2013 during Ramadan, as the Syrian civil war erupted nearby. (FYI: James Gandolfini was originally slated to play the interrogator before his untimely death.)
On the Granger Movie Gauge of 1 to 10, “Rosewater” is a relevant, insidious 6, acknowledging both the cost of oppression and absurdity of totalitarian regimes.
Susan Granger’s review of “Big Hero 6” (Walt Disney Animation)
In recent years, Walt Disney Animation Studios has been revitalized – with “Frozen,” “Tangled” and “Wreck-It Ralph.” That trend continues with this action-packed Marvel comic book collaboration.
The story revolves around Hiro Hamada (Ryan Potter), who lives in the futuristic East/West multicultural hybrid called San Fransokyo in Northern California. A cocky 14 year-old tech geek who already graduated from high school, he spends his time with back-alley robot-battles, much to the dismay of his Aunt Cass (Maya Rudolph) and older brother Tadashi (Daniel Henney), who want him to go to college.
Hiro becomes enthusiastic about the endeavor, impressing stern Professor Callaghan (James Cromwell) with his knowledge of “microbots,” nano technology that can form anything. Then tragedy strikes. And heartbroken Hiro bonds with gentle Baymax (Scott Adsit), an inflatable, translucent vinyl robotic Healthcare Companion designed to ease pain of all sorts. Their friends include adrenaline junkie GoGo Tamago (Jamie Chung), laser-blade innovator/neat frek Wasabi (Damon Wayans Jr.), chemistry specialist Honey Lemon (Genesis Rodriguez) and the Godzilla-obsessed fanboy Fred (T.J.Miller). Together, they utilize their creativity to morph into high-tech avengers, battling a kabuki-masked villain.
Under the supervision of Pixar’s executive producer John Lasseter, directors Don Hall (“Winnie the Pooh”) and Chris Williams (“Bolt”) have created a charming, if bland origin story, scripted by Robert L. Baird, Daniel Gerson and Jordan Roberts, inspired by the titular comic book heroes, borrowing from Japanese anime. But it’s the gentle, waddling giant Baymax that delivers the warmly puffy emotional resonance. Every kid will want one.
FYI: before the film starts, there’s a new short “Feast,” presenting life, love and, especially, food, as seen through the eyes of Winston, a Boston terrier. And stay through the end credits for a surprise about Fred’s parentage.
On the Granger Movie Gauge of 1 to 10, “Big Hero 6” is a bouncy, beguiling 7. It’s family fare that values brains over brawn.
Susan Granger’s review of “The Homesman” (Roadside Attractions/Saban Films)
If you thought Tommy Lee Jones’ “The Three Burials of Melquiades Estrada” (2005) was bizarre, it’s tame compared with his second Western in the director’s chair.
Two-time Oscar-winner Hilary Swank stars as Mary Bee Cuddy, a pious 1850s pioneer, unkindly described as “plain as a tin pail.” Which is why, she says, “I live uncommonly alone.”
A self-sufficient spinster, Mary Bee volunteers to transport three wailing, often hysterical young wives (Grace Gummer, Mirando Otto, Sonja Richter) who have gone insane from the hardships of frontier life in the Nebraska Territories. Driving a converted covered wagon with barred windows, she’s to deliver them to a parish in Hebron, Iowa, where they’ll be properly cared for. Almost immediately, Mary Bee realizes she’ll need assistance, which is why she rescues George Briggs (Tommy Lee Jones), a claim-jumping scoundrel, from the hangman’s noose after he promises to do whatever she asks. Accepting her offer of $300, Briggs grudgingly agrees to accompany her on the difficult, dangerous journey.
As resilient, resourceful Mary Bee Cuddy, Hilary Swank effectively embodies feminism in the mid-nineteenth century, valiantly coping with emotional and psychological alienation and isolation, while director/writer/actor Tommy Lee Jones confounds and consistently surprises as ornery, taciturn Briggs.
Plus, there are indelible cameos from James Spader, as an inhospitable hotelier; John Lithgow, as the earnest preacher; Tim Blake Nelson, as a repulsive drifter; and Meryl Streep, as a kindly churchwoman. (FYI: Grace Gummer is Meryl Streep’s real-life daughter.)
Scripted with bleak, if poetic eloquence as an episodic road saga by Jones with co-writers Kieran Fitzgerald and Wesley A. Oliver, it’s based on Glendon Swarthout’ s 1988 novel, which was originally optioned by Paul Newman. Mexican cinematographer Rodrigo Prieto vividly captures the forbidding inner and outer landscape, as does Marco Beltrami’s piano-and-string score. But nothing prepares you for the devastating plot twist that comes close to the end.
On the Granger Movie Gauge of 1 to 10, “The Homesman” is a sturdy, understated 7. Or, as one wag said, it’s No Country for Crazy Women.
Susan Granger’s review of “Wolves” (Ketchup Entertainment)
Are you ready for a new werewolf film? They’ve been a horror cinema staple since Lon Chaney Jr.’s “The Wolf Man” (1941) and its four sequels. The concept was even turned into a popular comedy “An American Werewolf in London” (1981).
In this particular creature-feature, teenage Cayden Richards (Lucas Till) awakens from a nightmare, only to realize that the sex, rage and violence of his ferocious fantasy has become reality. Panicked, he goes on the run, desperate to learn more about his lycanthropic affliction, particularly when he discovers that he was adopted.
After a chance meeting with a fellow werewolf named Wild Joe (John Pyper-Ferguson) at roadside biker’s bar, Cayden winds up in Lupine Ridge, a strange, isolated community that is populated by two clans of shape-shifting werewolves. Some are law-abiding citizens, while others live anarchically in the hills. Led by powerful, purebood Connor Slaughter (Jason Momoa), they’re ruthless killers. Peace-loving John Tollerman (Stephen McHattie) takes Cayden in, giving him work on the family farm, but bartender Angelina (Merritt Patterson) – the pureblood female whom Connor has chosen to bear his child – warns Cayden, “You’re too good to stay here.”
Then, under a full moon on Halloween, Connor goes crazy. “Stay in your homes tonight – and lock your doors,” Cayden warns the townfolk.
While David Hayter is recognizable as the iconic voice of Solid Snake in the “Metal Gear” video game series, he’s also credited as co-screenwriter of “X-Men,” “X2: Men United,” “The Scorpion King,” and “Watchmen.” This is his directorial debut – and his helming inexperience is, unfortunately, evident. Perhaps his first mistake was casting Lucas Till, who previously played Havok in the “X-Men” franchise; as an actor, he is utterly lacking in charisma, delivering a performance that best described as ‘confused.’ That makes alpha-villain Jason Momoa (TV’s “Game of Thrones”) the far more compelling character. Then there’s the problem of the cascade of furry clichés that clutter the utterly predictable plot.
On the Granger Movie Gauge of 1 to 10, “Wolves” is a turgid 3 – a bloody, brutal bore.