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BE­OWULF BRICK LANE REN­DI­TION THE JANE AUSTEN BOOK CLUB

The Irish Times - Friday - The Ticket - - Film Reviews - MICHAEL DWYER

Di­rected by Robert Ze­meckis. Voices of Ray Win­stone, An­thony Hop­kins, John Malkovich, Robin Wright Penn, Bren­dan Glee­son, An­gelina Jolie 12A cert Scar­ily un­real, dig­i­tally an­i­mated ver­sion of the an­cient poem de­tail­ing a war­rior’s at­tempts to dis­pense with a proto-Hulk, a dragon and a shiny, nip­ple-free An­gelina Jolie. The 3-D ver­sion was tech­ni­cally stun­ning, but, now flat and re­duced, the pic­ture seems sil­lier than ever. An ex­tended cut is avail­able on the two-disc pack­age for those who care. DON­ALD CLARKE Di­rected by Sarah Gavron. Star­ring Tan­nishtha Chat­ter­jee, Christo­pher Simp­son 15 cert Gavron’s low-key film jet­ti­sons large sec­tions of Mon­ica Ali’s novel and com­presses its prin­ci­pal events into one event­ful year, 2001. Chat­ter­jee por­trays a Bangladeshi im­mi­grant in Lon­don’s East End where she feels trapped in a love­less ar­ranged mar­riage. Ir­ish ac­tor Simp­son plays the charm­ing young rad­i­cal who opens her eyes to an­other world. Di­rected by Gavin Hood. Star­ring Jake Gyl­len­haal, Reese Wither­spoon, Peter Sars­gaard, Meryl Streep, Alan Arkin 15 cert Tsotsi di­rec­tor Hood’s film fol­lows an Amer­i­can (Wither­spoon) at­tempt­ing to find her Egyp­tian-born hus­band, who has been “ren­dered” to a “de­ten­tion cen­tre” in north Africa. Streep is glacial as the CIA chief who or­ders his tor­ture in a po­lit­i­cal thriller that is thor­oughly in­trigu­ing up to the point where it mis­guid­edly lurches into melo­drama and grows in­creas­ingly un­con­vinc­ing. MICHAEL DWYER Di­rected by Robin Swicord. Star­ring Kathy Baker, Maria Bello, Emily Blunt, Amy Bren­ne­man, Hugh Dancy, Lynn Red­grave, Jimmy Smits, Kevin Zegers PG cert Set in Cal­i­for­nia, this throws to­gether six char­ac­ters – one for each Austen novel – in a book club that be­comes a sup­port group for them. This cloy­ing movie is all too ea­ger to please as it views its char­ac­ters through a rose-tinted lens. MICHAEL DWYER

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