Capsule reviews for July 26

Breaking the Girls

Hitchcock might be wiggling in his grave over this contemporary reworking of Strangers on a Train as a tawdry erotic thriller about the rich and beautiful. At a posh private school, Sara (Agnes Bruckner) becomes an outcast after she befriends Eric (Shawn Ashmore), whose girlfriend heads a rival social circle. So Sara is seduced by a cynical lesbian (Madeline Zima) who has a twisted plan for revenge. The film quickly dispenses with logic and can’t be taken seriously with regard to issues such as bisexuality, socioeconomic status and suburban angst. Even so, it woefully lacks subtlety and suspense, and its characters aren’t the least bit sympathetic. (Not rated, 87 minutes).

Drug War

This stylish Hong Kong crima saga from veteran director Johnnie To (Exiled) tells the bloody but often riveting story of Zhang (Sun Honglei), an undercover narcotics officer trying to weave his way through a series of encounters with low-level dealers in order to capture an elusive drug lord (Louis Koo). Zhang is cool and clever, equally adept with words and weapons, and Sun’s stone-faced performance is on target. The film occasionally bogs down in procedural cat-and-mouse formula but features some terrific action sequences, including an extended climactic shootout that’s both brutal and exhausting. Visually, it’s a gritty throwback that’s certain to please genre aficionados. (Not rated, 107 minutes).

The Time Being

The healing power of art is explored in this deliberately paced character study about Daniel (Wes Bentley), a fledgling San Francisco painter who reluctantly accepts a commission to shoot videos for Warner (Frank Langella), a mysterious old man with ulterior motives. As Daniel’s family life begins to fall apart, he learns a secret about his wealthy but emotionally troubled benefactor that offers inspiration. Despite some powerful imagery, the film provides only minimal insight into the artistic process, and its characters aren’t compelling enough to pick up the slack. Solid performances from the two leads can’t rescue a heavy-handed script that is more pretentious than profound. (Not rated, 87 minutes).