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VANITY FAIR PP1/2

A condensation — and softening — of William Makepeace Thackeray’s novel, this adaptation finds director Mira Nair (helmer of the wonderful Monsoon Wedding) filtering the tale through her own sensibilities. That translates into plot nods toward her native India that weren’t in the source material, a visual scheme that’s far more colorful than what one usually encounters in British period pieces of this nature, and an approach that sentimentalizes many of the characters. Yet her liberties don’t cripple the piece — more often, they provide a welcome sheen to a movie that often threatens to buckle under the weight of so many characters and plot strands. Reese Witherspoon stars as the poor but plucky Becky Sharp, the 19th century social climber determined to carve out a better life for herself. Using her quick wit and feminine wiles, she inspires lust in men and scorn in women; eventually, she marries a dashing gambler (James Purefoy), but her real troubles are only just beginning. Although the episodic nature of the screenplay sometimes gets in the way of narrative propulsion (the final half-hour especially dawdles), the lively characters — and the hypocrisies they inadvertently champion — always remain watchable. Witherspoon makes a perky protagonist, though her character needs a nastier edge to be truly believable.

MARIA FULL OF GRACE PPP1/2

A different kind of drug movie — one that dives straight into the trenches — Maria Full of Grace isn’t about the cops, the kingpins or the clients; instead, it focuses on the mules, the (usually) impoverished folks who agree to smuggle the contraband material across borders, risking arrest or even death at any given moment. In this assured first feature from writer-director Joshua Marston, newcomer Catalina Sandeno Moreno delivers a memorable performance as Maria, a 17-year-old Columbian girl contending with a nagging family, a deadbeat boyfriend, and an unenviable job in a flower factory (her main duty is to pick the thorns off the roses). Fed up with the way her life is going — and discovering that she’s pregnant, to boot — Maria eventually finds herself agreeing to work as a mule for a local crime boss. Her assignment is to swallow dozens of heroin pellets and deliver them to a pair of pushers in New York City; to do this, she has to clear US customs and pray that none of the capsules open up while in her stomach, since that would lead to a painful death. Produced by HBO (which should be commended for taking a chance on a Spanish-language film) and headed for cable until the network decided to test its theatrical prospects, Maria Full of Grace is an eye-opening experience that sidesteps any political or moral rhetoric in an effort to paint a grim portrait of an independent woman who’s neither saint nor sinner, but merely a working stiff whose ill-advised decisions never subjugate her humanity.

HERO PPP

A 2002 Oscar nominee for Best Foreign Language Film, this Chinese epic, finally earning a stateside release, should satisfy anyone who couldn’t get enough of the visual splendors exhibited in Ang Lee’s Crouching Tiger, Hidden Dragon. Zhang Yimou, the world-renowned director of Raise the Red Lantern and Ju Dou, has assembled an all-star cast for this opulent tale centering on a warrior known as Nameless (Jet Li), who explains to a power-hungry king (Daoming Chen) how he single-handedly vanquished the legendary assassins Broken Sword (Tony Leung), Flying Snow (Maggie Cheung) and Sky (Donnie Yen). Yet is the hero telling the truth, or are there some Rashomon dynamics at play here? With Crouching Tiger neophyte Zhang Ziyi rounding out the principal cast as Flying Snow’s aide, Hero largely succeeds because its performers are able to punch across the importance of the story’s themes of solidarity and self-sacrifice. The different color schemes employed throughout the picture are breathtaking — it’s unlikely that few other movies this year will match this one’s ravishing visuals.

Garden State PPP1/2

Zach Braff, known to TV viewers for his leading role on the sitcom Scrubs and known to movie watchers for absolutely nothing, used his minimal clout to secure financing for his first endeavor as a writer-director-star. He does more than knock it out of the park — this one reaches all the way to the county line. Braff cast himself in the starring role of Andrew “Large” Largeman, a struggling LA actor who spends more time waiting on tables than emoting in front of the cameras. Heavily medicated ever since a troubled childhood, Large is too numb to feel much of anything; nevertheless, he knows it’s only proper to return to his New Jersey hometown to attend the funeral of his mother. Large hasn’t been home in nine years, which leads to some tense moments with his authoritarian dad (Ian Holm); in an effort to keep some distance between them, he decides to spend most of his few days in town hanging out with his old high school acquaintances. Yet Large’s most significant relationship turns out to be with someone new to his circle: Sam (Natalie Portman), a vibrant life force who’s the perfect remedy for an emotionally bottled-up guy trying to make sense out of his muddied existence.



Open Water PPP

Shot in a grainy, you-are-there style that inevitably brings up comparisons to The Blair Witch Project, this thriller from writer-director-editor Chris Kentis still manages to be less fanciful than that no-frills blockbuster. There’s no supernatural element at work here, just a deep, dark sea that contains as many hidden horrors as one of those haunted houses that dot the city streets come Halloween. Even with a compact 80-minute running time, Open Water takes its time actually getting to the water, spending a while with yuppie couple Susan (Blanchard Ryan) and Daniel (Daniel Travis) on dry land as they schedule a quickie beach vacation in between the demands of their high-stress jobs. The R&R itinerary includes a scuba-diving excursion, but this popular maritime activity takes a decidedly devastating turn when the pair resurface after 30 minutes below the surface to discover that, due to crew incompetence, their guide boat (packed with 18 other tourists) has already headed back to shore. As the minutes turn into hours and day turns into night, the couple’s mood switches from deep concern to outright panic, with the time in between reserved for mutual comforting, medical musings (will drinking this salt water help or hurt?) and a brief bout of finger-pointing. All the while, the natural inhabitants of the sea continue to make occasional appearances, none more petrifying than those creatures with the dead eyes and very pointy teeth.

Collateral PPP

The notion of matinee idol Tom Cruise playing a hardened killer may sound like a gimmick — yet another bald attempt to score that Oscar that has long eluded him — yet as Michael Mann’s Collateral demonstrates, it’s a gamble that pays off. Cruise likely won’t be winning any awards for this one, either, but his performance is nevertheless a fine one. Sporting salt-and-pepper hair that suits him rather well, Cruise stars as Vincent, a contract killer who forces a cab driver named Max (solid Jamie Foxx) to ferry him around nocturnal Los Angeles so he can carry out his assignment. Vincent’s been paid to bump off five individuals who can help the law clamp down on an international drug cartel, but along the way he has to contend with his hostage-driver, who’s none too happy with his latest fare and repeatedly tries to escape. Scripter Stuart Beattie creates some interesting give-and-take dynamics between Vincent and Max, yet he and Mann (Heat) seem to be equally interested in the peripheral elements: a relaxed soliloquy by a jazz musician (Barry Shabaka Henley) who’s still marveling over his brush with greatness; a dialogue between Max and one of his passengers, a self-doubting prosecuting attorney (Jada Pinkett Smith), that feels real because neither character knows exactly where it’s heading; and the reflective headlight glare captured in the eyes of a wayward coyote that’s silently padding its way through an urban — and decidedly untamed — jungle.

THE MANCHURIAN CANDIDATE PPP

This isn’t a masterpiece like the ‘62 edition, which still reigns as one of the finest thrillers ever made. Meryl Streep, while quite good, can’t touch Angela Lansbury’s bone-chilling portrayal of evil disguised as matronly concern; likewise, solid Liev Schreiber doesn’t quite match Lawrence Harvey’s multilayered performance as her tortured son. And a newly added plot twist will have audience members choking on their popcorn. But in most other respects, this new Candidate is that rare remake that paves its own way without cheapening its predecessor.

THE VILLAGE PP

The Village isn’t really much worse than Unbreakable or the silly Signs, but M. Night Shyamalan’s carny act already feels like it’s decades old -- it’s a shame, because some good ideas are squandered in a muddled thriller that ends up duping itself. William Hurt, Sigourney Weaver and promising newcomer Bryce Dallas Howard (Ron’s daughter) are among those playing the residents of a 19th century burg that’s surrounded by woods containing fearsome monsters.







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More by Matt Brunson

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  • Review: Moana

    Again combining a fairly standard morality tale with eye-popping visuals, Disney has another hit in Moana, a rollicking yarn centered on a young lass (voiced by Auli’i Cravalho) coming of age on a South Pacific island.
    • Nov 29, 2016
  • Review: Manchester By The Sea
  • Review: Manchester By The Sea

    A film that cuts close to the bone, with gentle humor only occasionally serving as a buffer against the harsh realities of these characters’ lives.
    • Nov 29, 2016
  • Review: Arrival
  • Review: Arrival

    A motion picture that turns out to be far more focused on humanity than on otherworldly visitors, it’s a transcendent viewing experience that gets under the skin and into the heart.
    • Nov 15, 2016
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