Susan Granger’s review of “ONE KILL” (SHOWTIME TV MOVIE – Sunday, Aug. 6th)
As relevant as today’s headlines, this thriller, which airs on SHOWTIME Sunday at 8 P.M., exposes the double standard women face in the military. A highly decorated Marine Corps Captain (Anne Heche), a single mother, discovers she’s up against the “good ole boy” network when she’s awakened at gunpoint by an intruder, wrestles free, then shoots and kills her assailant. While a local court rules the incident justifiable homicide, the military views it differently since the man (Sam Shepard) she killed was a Major and a war hero. A military prosecutor calls it “premeditated murder” when it’s disclosed that the Captain and the married Major had an affair. So her future is in the hands of an attorney (Eric Stoltz), the son of a highly regarded military officer. Through flashbacks, we learn what really happened and the chain of events that led up to it. “One Kill” presents a true moral dilemma – one that viewers will find quite provocative. Writer Shelley Evans and director Christopher Menaul reveal that the Captain was in an untenable position. The Major was opposed changes in military policies that allow women to lead battle units, yet in a rigged special training exercise, the Captain’ s unit wins. Intrigued by her courage and stamina, the obsessed Major begins his own personal assault, even stalking her, although it’s against regulations for them to fraternize. One quibble: physically, Anne Heche is too tiny and thin; her size works against her believability. On the Granger Made-for-TV Movie Gauge of 1 to 10, “One Kill” is an intelligent, stylish, suspenseful 7. As proven with the recent case of Lt. Gen. Claudia Kennedy vs. Maj. Gen. Larry Smith, military women have come to realize that if you have the courage to report sexual harassment, you can expect to be doubted and persecuted.
Susan Granger’s review of “ONE KILL” (SHOWTIME TV MOVIE – Sunday, Aug. 6th)
As relevant as today’s headlines, this thriller, which airs on SHOWTIME Sunday at 8 P.M., exposes the double standard women face in the military. A highly decorated Marine Corps Captain (Anne Heche), a single mother, discovers she’s up against the “good ole boy” network when she’s awakened at gunpoint by an intruder, wrestles free, then shoots and kills her assailant. While a local court rules the incident justifiable homicide, the military views it differently since the man (Sam Shepard) she killed was a Major and a war hero. A military prosecutor calls it “premeditated murder” when it’s disclosed that the Captain and the married Major had an affair. So her future is in the hands of an attorney (Eric Stoltz), the son of a highly regarded military officer. Through flashbacks, we learn what really happened and the chain of events that led up to it. “One Kill” presents a true moral dilemma – one that viewers will find quite provocative. Writer Shelley Evans and director Christopher Menaul reveal that the Captain was in an untenable position. The Major was opposed changes in military policies that allow women to lead battle units, yet in a rigged special training exercise, the Captain’ s unit wins. Intrigued by her courage and stamina, the obsessed Major begins his own personal assault, even stalking her, although it’s against regulations for them to fraternize. One quibble: physically, Anne Heche is too tiny and thin; her size works against her believability. On the Granger Made-for-TV Movie Gauge of 1 to 10, “One Kill” is an intelligent, stylish, suspenseful 7. As proven with the recent case of Lt. Gen. Claudia Kennedy vs. Maj. Gen. Larry Smith, military women have come to realize that if you have the courage to report sexual harassment, you can expect to be doubted and persecuted.
Susan Granger’s review of “Killers of the Flower Moon” (Paramount/Apple TV+)
Master storyteller Martin Scorsese’s harrowing epic “Killers of the Flower Moon” relates an American true-crime drama, set in the 1920s.
Adapted from David Grann’s nonfiction 2017 best seller, the ambitious, solidly structured screenplay by Eric Roth and Scorsese focuses on the ruthless murders of members of the Osage Nation whom the U.S. government forced out of Kansas to relocate on 2,300 acres if barren land in what is now Oklahoma.
Until the 1890s, no one realized that the ‘barren land’ was teeming with oil, making the Indigenous people wildly wealthy. According to records, the tribe took in more than $30 million, the equivalent of more than $400 million today. They had more money per capita than any other populace in the United States.
When Ernest Burkhart (Leonardo DiCaprio), a W.W.I Army veteran, disembarks from a train in the Osage boomtown of Fairfax, he sees oil derricks everywhere, pumping ‘black gold.’ Local men are driving Pierce Arrows and riches abound.
Gullible Ernest – with his admitted weakness for women – has come to live with his conniving, cattle rancher uncle, William ‘King’ Hale (Robert DeNiro), who has ingratiated himself with the Osage and fluently speaks their language.
Lizzie Kyle (Tantoo Cardinal) is an elderly Osage widow with four daughters: Mollie (Lily Gladstone), Minnie (Jillian Dion), Rita (Janae Collins) and Anna (Cara Jade Myers). Soon, susceptible Ernest woos and weds wary, dignified Mollie (who is diabetic, requiring insulin injections) and he sires her children.
Each Osage woman has ‘headrights,’ meaning a share in the tribe’s Mineral Trust; when she dies, her rights pass to her next of kin – like her grieving white husband.
By 1925, a stealthy, systematic “culture of killing” has developed, attracting the attention of President Calvin Coolidge and the F.B.I.’s J. Edgar Hoover, who dispatches former Texas Ranger Tom White (Jesse Plemons) from Washington, D.C. to investigate the ugly, unsavory exploitation and sordid, sinister genocide.
Then in the early 1930s, Hoover gave a radio show permission to do a dramatic broadcast about how his fledgling crime fighter solved the tragic Osage murders, making Tom White the first G-man to garner nationwide publicity.
When DiCaprio optioned Grann’s book, he was set to play White. But after an early ‘table read’ and resolution to rewrite the script from a different perspective, he decided to play deluded Ernest Burkhart instead.
Credit Martin Scorsese, cinematographer Rodrigo Prieto, production designer Jack Fisk, and costumer Jacqueline West for immersing audiences in authentic Osage traditions, vivid pageantry and spiritual tribal customs. The $200 million budget is up there on the screen, culminating with Ilonshka dances and drumming.
As an inevitable 2024 Oscar contender, look for nominations for Scorsese, DiCaprio, De Niro and transcendent newcomer Lily Gladstone, who is of Blackfeet and Nimiipuu heritage.
My primary reservation centers on the sprawling film’s three-hour-26-minute length. Granted – Scorsese has a compelling, multi-faceted tale to tell – but there should have been an intermission.
On the Granger Gauge of 1 to 10, “Killers of the Flower Moon” is a nefarious 9, now playing in theaters; it will eventually stream on Apple TV+.
Susan Granger’s review of “Indiana Jones and the Dial of Destiny” (Disney)
For great family fun, you can’t beat “Indiana Jones and the Dial of Destiny,” concluding the globe-trotting adventures of the iconic archeologist, a fantastical franchise that began in 1981 with Steven Spielberg’s “Raiders of the Lost Ark.”
This final saga begins in 1944 Germany near the near of W.W. II, as intrepid Dr. Henry ‘Indiana’ Jones Jr. (Harrison Ford) tries to help his close friend/colleague Basil ‘Baz’ Shaw (Toby Jones) save Greek mathematician/inventor Archimedes’ fabled ‘Antikythera’ – a.k.a. Dial of Destiny – a clock-like devise enabling time travel – from a nasty Nazi (Mads Mikkelson).
Skip ahead to 1969 New York, where still surly ‘n’ spry Professor Jones is retiring from university teaching and living alone in a crummy apartment, his marriage to Marion (Karen Allen) having disintegrated after their soldier son was killed.
That’s when Baz’s now-grown daughter Helena (Phoebe Walker-Bridge), who’s defiantly selling relics on the black market, again involves Indy in pursuit of this remarkable artifact, igniting a terrific chase with Indy on horseback, galloping into the subway in the middle of a street parade celebrating the Moon landing amid Vietnam War protestors.
Written by Jez Butterworth, John Henry Butterworth, David Koepp and director James Mangold, it’s an edgy, exotic if erratic, action-adventure, coming to a surprisingly satisfying conclusion, nostalgically scored by John Williams.
So how did they digitally de-age Indy for the flashback? Harrison Ford explains, “That’s really my face. It’s not Photoshop magic. That’s what I looked like 35 years ago. Lucasfilm has every frame of film we’ve made together over all these years; the scientific mining of this library was very skillfully put to good use.”
“This is the final film in the series and the last time I’ll play that character,” whip-cracking Ford notes. “And I anticipate that it will be the last that that he appears in a film.”
On the Granger Gauge of 1 to 10, “Indiana Jones and the Dial of Destiny” is an exciting, escapist 8, playing in theaters.
Susan Granger’s review of “Yellowstone Trilogy” (Paramount Network)
With “Yellowstone” currently wrangling its fifth successful season, its creators – Taylor Sheridan and John Linson – have lured audiences once again into the interconnected Big Sky mythology of the American West, as epitomized by the dysfunctional Dutton dynasty.
Gruff John Dutton (Kevin Costner) presides over the sprawling Yellowstone Ranch, the largest in Montana. He is so determined to preserve its rural heritage that he runs for Governor and – to no one’s surprise – wins, thwarting the ambitions of his rebellious adopted son Jamie (Wes Bentley).
“I am the opposite of progress. I am the wall that it bashes against,” declares the new, ultra-conservative Governor. As he ruthlessly tells a group of Chinese tourists who are stunned by the amount of land he owns: “This is America. We don’t share land.”
Dutton’s self-destructive daughter Beth (Kelly Reilly), married to his loyal foreman/enforcer Rip Wheeler (Cole Hauser), now serves as her father’s audacious Chief of Staff, while his PTSD-suffering son Kayce (Luke Grimes) agrees to take over running the day-to-day ranch operation with the approval of his Native American wife Monica (Kelsey Asbille).
Dutton’s formidable adversary is Market Equities, which wants to develop Yellowstone land, now propelled by Ellis Steel (John Emmet Tracy) and Sarah Atwood (Dawn Olivieri), who has seduced Jamie.
If you look/listen closely during Episode 7, when John Dutton learns of a possible brucellosis infection among his cattle, he’s so frustrated that he almost breaks a Swarovski crystal decanter.
“That’s 100 years old and belonged to your grandfather,” warns Beth. “Break something else.”
This fifth season is comprised of 14 episodes which will air in two installments, the second beginning Sunday, Feb. 5th.
The Dutton family has owned the Yellowstone since “1883.” That prequel series detailed their westward journey from Texas in a wagon train across the great frontier, showing how John Dutton’s great-grandfather, Civil War veteran James (Tim McGraw) and his wife Margaret (Faith Hill) founded the Dutton ranch on a spot of land chosen by their daughter Elsa (Isabel May) for her gravesite.
During that era, as an Indigenous man steered James to Paradise Valley, he warned him that, in seven generations, his Native American people will reclaim their land from the Duttons.
Narrated by Elsa, the spinoff “1923” series delves into how the feisty Duttons maintained Yellowstone as a cattle ranch throughout its darkest and most depressed era. “Violence has always haunted this family,” she intones. “Where it doesn’t follow, we hunt it down. We seek it.”
“Upon my father’s death, my mother wrote to his brother, begging that he bring his family to this wild land and save hers,” Elsa explained. So childless Jacob Dutton (Harrison Ford) arrived at the ranch with his steely, Irish-born wife Cara (Helen Mirren) to take charge in 1894.
Skip to when W.W. I concludes and Prohibition is in its infancy. Jacob and Cara raise their orphaned nephews: Spencer and John Dutton Sr. (James Badge Dale) who married Emma (Marley Shelton). John & Emma’s twentysomething son, Jack (Darren Mann), is the ranch’s heir apparent; he’s engaged to plucky Elizabeth Strafford (Michelle Randolph). Plus there’s Zane (Brian Geraghty), the loyal foreman.
Coping with severe drought, the Dutton family adversaries are wily Scottish sheep-herders, led by Banner Creighton (Jerome Flynn), who cut through the Dutton fences, allowing their flocks to overrun the coveted grasslands, inciting a range war.
“My concern is survival,” growls Jacob. As Livestock Commissioner, Jacob launches the beginning of the Dutton political dynasty, opposed by villainous Donald Whitfield (Timothy Dalton) who offers to bankroll his own Paradise Valley claim.
Meanwhile in Namibia, Africa, now-grown Spencer Dutton (Brandon Sklenar), the ranch founder’s youngest son, chose to escape his wartime memories by becoming a renowned hunter-for-hire, killing lions, hyenas and other predators that are terrorizing human settlements.
One night in a bar, he meets beautiful Alexandra “Alex” (Julia Schlaepfer), a British socialite who impetuously runs off with him, determined to share his adventurous life.
Following a close call with a pride of lions, Spencer and Alex are enjoying a romantic getaway on an island in Zanzibar, where he receives an urgent letter from his Aunt Cara, detailing how his brother John was killed by thieves and his bedridden Uncle Jacob was severely injured.
That’s when – in Episode 4 – you can spot Spencer drinking whiskey from a Swarovski crystal decanter and glasses that resemble those in the current “Yellowstone.”
“We need to book passage to America,” he says. But will they get to Montana in time to save their family?
Intercut through the eight-episodes, there are shocking scenes of how hapless Indigenous girls are routinely kidnapped from their families and sent to a rigorous Catholic residential school, run by cruel nuns like ruler-wielding Sister Mary (Jennifer Ehle), supervised by religious zealot Father Renaud (Sebastian Roche).
For over a century, the United States funded governmental boarding schools designed to strip away Native American culture through sadistic mental and physical abuse, forcing Indigenous girls to accept white Christian values. Since one of the incarcerated teenagers is Crow-speaking Teonna Rainwater (Aminah Nieves), she’s probably an ancestor of the current Chief Thomas Rainwater (Gil Birmingham).
Some of these schools stayed open until 1969 – so it’s all quite timely. Just last year in Canada, there was a harrowing discovery of mass graves in residential schools.
Serving as advisor and cultural anchor to Taylor Sheridan, actor Mo Brings Plenty keeps it as real as possible, particularly in sequences that involve Native American history and rituals. Born on the Pine Ridge Reservation in South Dakota, he grew up in the Lakota Nation.
On the Granger Gauge of 1 to 10, “The Yellowstone Trilogy” is an engrossing, highly entertaining 8, streaming on the Paramount+.
Susan Granger’s review of “Halloween Kills” (Universal Pictures/Miramax/Blumhouse)
This eleventh installment in John Carpenters fabled, if fragmented franchise picks up where 2018’s “Halloween” concluded – in the small town of Haddonfield, Illinois, where three generations of Strode women are battered and exhausted.
After an extensive prologue filled with grisly flashbacks and gnarly footage recalling Michael Myers’ grim history – from how he initially killed his six year-old sister to his escape from a psychiatric hospital 40 years later – he’s once again on the rampage in his iconic white mask.
Now a grandmother, Laurie Strode (Jamie Lee Curtis) suffered a debilitating abdominal stab wound, so she is hospitalized post-surgery. While her daughter Karen (Judy Greer) is reasonably determined, it’s her granddaughter Allyson (Andi Matichak) who is now resolute to wreak revenge.
Several characters return from the 1978 original, including Marion Chambers (Nancy Stephens), Leigh Brackett (Charles Cyphers), Tommy Doyle (now played by Anthony Michael Hall, replacing Paul Rudd), Lonnie Elam (now played, as an adult, by Robert Longstreet), and Lindsay Wallace (Kyle Richards). And this is the sixth time Jamie Lee Curtis has embodied Laurie Strode.
When interviewed on Sirius XM, Curtis noted how the story resonates with protests and riots that swept the country after George Floyd’s death: “This movie is about a mob. It takes on what happens when trauma infects an entire community, and we’re seeing it everywhere with the Black Lives Matter movement. We’re seeing it in action.”
Working from an incoherent, dumbed-down, over-populated script he co-wrote with Scott Teems and Danny McBride, David Gordon Green has once again revived John Carpenter’s ‘curse’ involving Michael Myers as the terrifying psycho-slasher in a trilogy which he intends to conclude with “Halloween Ends!”
The title sequence opens with 12 pumpkins with flames shooting out of their eyes – with the last one indicating “Halloween Ends!” as the 12th installment in the franchise, now set for release in October, 2022.
On the Granger Gauge of 1 to 10, “Halloween Kills” is a ferociously savage 3 – simultaneously in theaters and streaming on the Peacock Network.
Susan Granger’s review of “The Man Who Killed Don Quixote” (Screen Media)
Since 1989, Terry Gilliam (“Monty Python”) has been obsessed with adapting Miguel de Cervantes’ early 17th century novel “Don Quixote,” noting: “I’ve always been drawn to madmen, to fantasists, to people who refuse to accept the world for what it really is.”
After completing “The Adventures of Baron Munchausen,” Gilliam started developing this project, casting Johnny Depp as a time-traveler and Jean Rochefort as Quixote. That ill-fated effort was chronicled in the documentary “Lost in La Mancha” (2002).
Over the years, Sean Connery, John Cleese, Ewan McGregor, Robert Duvall, Michael Palin, John Hurt and Jack O’Connell were rumored to star.
Inspired by “A Connecticut Yankee in King Arthur’s Court,” Gilliam and co-writer Tony Grisoni (“Fear and Loathing in Las Vegas”), finally fashioned a bizarre adventure comedy about Toby (Adam Driver), a cynical director of TV commercials who feels artistically unfulfilled.
On location in La Mancha, Spain, he finds a bootleg copy of his old Quixote student film and realizes that the village where he shot it is nearby.
Javier (Jonathan Pryce), the old shoemaker whom he cast as Quixote, suffers from delusions that his role as the chivalrous “Knight of the Woeful Countenance,” jousting with windmills, was real, and his Dulcinea (Joana Ribeiro) is now a high-class call-girl, abused by a cruel Russian oligarch (Jordi Molla).
For exasperated Toby – a.k.a. the trusted squire, Sancho Panza – the line between reality and fantasy becomes increasingly blurred as the chaotic, confusing script meanders into ridiculously madcap vignettes of irreverent absurdity.
There’s Toby’s jealous boss (Stellan Skarsgard) whose wife predatory wife (Olga Kurylenko) is after Toby, along with his agent (Jason Watkins), who massages Toby’s ego and back.
As with all Terry Gilliam pictures, the opulent visuals are evocative. Utilizing anamorphic lenses, Nicola Pecorini’s digital cinematography and Benjamin Fernandez’ production design evoke the Spanish artist Goya and Dore, who illustrated “Quixote” in the 19th century.
On the Granger Movie Gauge of 1 to 10, “The Man Who Killed Don Quixote” is a preposterously quixotic 6, proving persistence eventually pays off.
Susan Granger’s review of “The Man Who Killed Hitler and Then The Bigfoot” (RLJE Films)
Catching my attention with the most bizarre title I’ve seen in years, this inventive action/adventure follows the epic adventures of an American legend that no one has ever heard of.
During World War II, Calvin Barr (Sam Elliott) remained anonymous although he was actually the soldier who shot The Fuhrer. Quietly living out his retirement years in a small Northeastern town, along the Canadian border, Barr’s constant companion is his golden retriever.
He often recalls the moment when his aptitude for languages and knowledge of ‘40s-era weaponry led him to the fateful spot where he killed Adolf Hitler, whose “ideas continued to do their damage without him.” (In episodic flashbacks, Barr is played by Aidan Turner, familiar to TV audiences from “Poldark”).
Barr still mourns the loss of the love-of-his-life, a schoolteacher named Maxine (Caitlin FitzGerald); his only friend seems to be his gregarious younger brother (Larry Miller), the town’s barber.
But when a series of homicides occur nearby, Barr is recruited by an FBI agent (Ron Livingston) and a Royal Canadian Mounted Policeman (Rizwan Manji) to use his remarkable tracking ability to serve his country.
His mission: to kill the mythical Bigfoot, a creature infected with a deadly virus that could devastate mankind. That leads Barr to, once again, question society’s concept of heroism.
Making his feature-film debut, writer/director Robert D. Krzykowski is a graphic artist-turned-filmmaker. His first coup was signing veteran actor Sam Elliott (“A Star is Born”) to propel this overly talky melodrama with total conviction.
In addition, Krzykowski was able to convince two-time Oscar-winner Douglas Trumbull (“2001: A Space Odyssey,” “Blade Runner,” “Close Encounters of the Third Kind”) to serve as executive producer and create visual effects on what’s obviously a miniscule budget, joining a production team that also includes independent filmmaker John Sayles (“Lone Star,” “Eight Men Out”).
On the Granger Movie Gauge of 1 to 10, “The Man Who Killed Hitler and Then The Bigfoot” is a strange 6, focusing on a stoic superhero.
Susan Granger’s review of “To Kill A Mockingbird” (Shubert Theater on Broadway)
While Aaron Sorkin adaptation is basically faithful to Harper Lee’s beloved 1960 Pulitzer Prize-winning novel, delving into race, justice, bigotry, compassion and forgiveness, it’s a subtly revisionist version.
In the prologue, the youngsters Scout (Celia Keenan-Bolger), her older brother Jem (Will Pullen) and their friend Dill (Gideon Glick) are in what appears to be a barren, old, dilapidated building, wondering about what really happened on the night Bob Ewell (Frederick Weller) died. Did he really fall on his own knife? To persistent, often petulant Scout, something doesn’t add up.
Suddenly, Miriam Beuther’s stylized set design evolves into a 1934 Maycomb, Alabama, courtroom, complete with an elevated judge’s bench, jury box, and witness stand with adjacent spectator seats.
At the defense table is Tom Robinson (Gbenga Akinnagbe), a black laborer who has been falsely accused of beating and raping 19 year-old Mayella Ewell (Erin Wilhelmi). At his side (with his back to the audience) sits his defense lawyer Atticus Finch (Jeff Daniels), known as the most honest man in town.
Atticus firmly believes you can’t really know someone unless you climb into someone’s skin and inhabit it. He firmly believes in the fundamental goodness in everyone, even hate-filled Ku Klux Klan members. There are good people on both sides, he insists, echoing Donald Trump’s remark.
Atticus excuses Bob Ewell’s virulent racism by saying he recently lost his job and explains a cantankerous neighbor’s prejudice because she’s sick and stopped taking her morphine. During the course of the play, Atticus’s beliefs in the nature of decency are sorely challenged.
Working with director Bartlett Sher (“South Pacific,” “My Fair Lady”), Aaron Sorkin (“The Social Network,” “Moneyball,” “West Wing, “The Newsroom”) not only makes the timely connection between Jim Crowe Maycomb and contemporary Charlottesville but he also amplifies the role of Finch’s outspoken Africa-American maid, Calpurnia (LaTanya Richardson Jackson).
In addition, Sorkin injects Dill’s oddball best-friend character with Truman Capote’s unmistakable characteristics, including memories of being locked in his room while his mother went husband-hunting.
How does the play compare with the iconic 1962 movie, starring Gregory Peck? The most jarring change is casting adults as children; Celia Keenan-Bolger is 41. Although the actors are talented, I found the loss of childhood innocence very disconcerting.
“To Kill A Mockingbird” runs 2 hours and 35 minutes with one intermission, and if you leave your seat for any reason during the performance, you are not allowed to return.
Susan Granger’s review of “Hunter Killer” (Summit Premiere/Lionsgate)
Deep under the Arctic Ocean, American submarine Captain Joe Glass (Gerard Butler) is searching for a sunken U.S. sub when he hears distress sounds emanating from a nearby Russian sub that’s been sabotaged from within.
After a daring mission that rescues Captain Andropov (Michael Nyqvist), Glass discovers that the destruction of both the U.S. and Russian subs was part of a coup. It’s a bid for power by the Defense Minister (Mikhail Gorevoy), who is holding Russia’s President (Alexander Dyachenko) hostage.
Meanwhile in the Situation Room at the White House, the Chairman of the Joint Chiefs of Staff (Gary Oldman) is urging the President (Caroline Goodall) to retaliate, an impetuous move which might start World War III.
But Rear Admiral John Fisk (Common), supported by the NSA advisor (Linda Cardellini), has another idea. If Glass and a crack team of black-ops Navy SEALS can kidnap the Russian President and bring him safely back on the American sub, the ambitious Defense Minister will be defeated and a nuclear catastrophe can be avoided.
As expected, there’s high tension as Glass and his apprehensive crew try to sneak through a booby-trapped Russian fjord with the help of Captain Andropov. This film was one of late actor Michael Nyqvist’s last roles – and the film is dedicated to him.
Based on the 2012 novel “Firing Point, it’s” adapted by Arne L. Schmidt & Jamie Moss and directed by Donovan Marsh, who had a submarine set constructed that was slightly wider than a sub’s real dimensions to accommodate the cast of 15, along with 10 in the camera crew – but still claustrophobic.
Unfortunately, it’s cliché-riddled and, given the usual wooden performance by Gerard Butler (“Olympus Has Fallen,” “London Has Fallen”), this film falls far short of any comparison with previous submarine adventures like “The Hunt for Red October,” “Crimson Tide,” “U-571,” “The Abyss” and, of course, “Das Boot.”
On the Granger Movie Gauge of 1 to 10, “Hunter Killer” is a fretful 5, appealing to those who enjoy watching imaginary military maneuvers.
