Your guide to what's hot and what's not on the silver screen

Silver City Dir. John Sayles From the film’s trailer, you might think this film is a thinly veiled attack on a certain political figure, as it charts the rise of slow-witted Colorado gubernatorial candidate Dicky Pilager, who never met a campaign speech he couldn’t mangle (and whose last name says it all). But in fact, his story’s merely the backdrop to a larger tale of greed and corruption.

When a dead body turns up in a lake where Pilager’s shooting a campaign ad, a private eye (Danny O’Brien, played with frayed idealism by Danny Huston) is hired to learn if it’s an accident or an attempt to sandbag the candidate; the wretchedness Danny uncovers truly leaves the stink of the corpse in the shade. In the film’s most chilling sequence, multi-millionaire mine owner Wes Benteen (Kris Kristofferson) extols the wisdom of “liberating” our natural resources for the benefit of “the American people” in the sinister cadence of a serial killer discussing his latest victim. —Gillian G Gaar

Vanity Fair
Dir. Mira Nair

"Vanity Fair" will do for Reese Witherspoon what “Emma” did for Gwenyth Paltrow. These days, it seems in order to be considered a “serious actress,” you either have to get ugly (Charlize Theron in "Monster"), or you have to master a period piece with an unconventional female character. Witherspoon accomplishes the latter task in this film, based on the book of the same title by William Makepeace Thackeray. She portrays the famed role of Becky Sharp, a young woman who was born into a society where money is everything, but has nothing to her name but her sense of wit, a bohemian upbringing and a charming sexuality. With that comes an almost innate need to climb the social ladder and get to a place where she can forget her past. When the original novel was first published, a character like Becky’s would have been abhorred by society. But today, she can either be considered a feminist hero merely trying to get the best out of life, or just another everyday Capitalist whore. The film will definitely cause much debate in many circles. Director Mira Nair (“Mississippi Massala,” “Monsoon Wedding”) seems to inherently know this, as she has made a film about issues of the past and at the same time made them seem very vogue in contemporary society.

“Vanity Fair” is also able to utilize Witherspoon’s vibrant comedic background because the novel itself has many instances of rollicking dry humor. This is a great role choice for Witherspoon, who was pregnant during the filming. She carries out a fine performance and at times is almost unrecognizable in her flamboyant garb circa the 1800s. It proves after all, she can do a film that isn’t purely fluff, comedy or "Legally Blonde." —Karla Esquivel

Garden State
Dir. Zach Braff

If you don’t crack a smile at least once during this movie, there is something seriously wrong with you. “Garden State,” from writer, actor, and first-time director Zach Braff, is virtually flawless as an understated, endearing story of coming home again and finding what you didn’t realize you were missing. Twenty-six year-old Andrew Largemen (Braff) returns to New Jersey following a nine-year absence upon learning of the death of his paraplegic mother. His home front odyssey includes: avoiding his ice-cold psychiatrist father (Ian Holm), reconnecting with high school stoner buddy, Mark (excellently crafted by Peter Sarsgaard), and meeting the peculiar, curious and charming Sam (played to near perfection by Natalie Portman). Where the movie is genuine and honest, some may say it’s pandering. When endearing and sweet, some will certainly call it saccharine-saturated. Say what you will, this film, full of suburban Jersey anecdotes (most of which are true stories collected by Braff throughout his life), subtle humor and lovely moments, is a peephole into real life and reminds us of what makes it so fragile, wonderful, simple and fleeting. While some critics have complained the ending is too tidy, all you romantics out there will appreciate the spilling out of emotions. Because sometimes, even though you know the sentiment, it just feels good to hear it out loud. —Brittany D Friesner

Mean Creek
Dir. Jacob Aaron Estes

The Culkin legacy lives on. I actually think they are clones. Face it, their parents saw what a good gig they had with Macauly and they probably paid someone a ton of money to clone him. That’s why all sibling brothers look alike! But perhaps it will be the youngest Culkin, Rory, who will blow everyone out of the water with his outstanding performance in writer/director Jacob Aaron Estes’ debut film “Mean Creek.” The film, which has been touted as a cross between a modern-day “River’s Edge” and “Heart of Darkness,” is guaranteed to jolt you out of your theatre seat. It’s like watching an immoral nightmare take place on the screen. You know, the one where you wake up and are thrilled it was only a dream. Rory plays a pre-pubescent teen who is picked on by a social outcast bully with a weight issue and a learning disability. His older brother and his buddies decide to get back at him by inviting him to a birthday party on a boat where they will play truth or dare and leave him at the river, naked to walk home on his own. At first you feel sorry for the kid. After all, it is just love and friendship he is after. But he becomes annoying and dire circumstances follow. This is a great script with superb insight from a facile director. It also boasts an amazing crew of young actors. —Karla Esquivel