Anna Karenina

During the end credits, director Joe Wright's Anna Karenina is said to be "inspired by" the classic Leo Tolstoy novel of the same name; "inspired" is a fitting word to use. This isn't your usual costume drama with realistic backdrops and true-to-historical-detail scenery. Instead, while it is set during the late 1870s, it unfolds mostly in a theater, with the main events taking place onstage, under a proscenium arch. The unspoken, the underbelly, the illicit takes place above it, on the crossover and flyspace. The audience in the movie is Russian society, observing the drama as it happens.

It's all brilliant, even if it takes a while to get your bearings. Traditionalists may flinch at this interpretation, which distils Tolstoy's dense novel to its essence, focusing on Anna and Levin's quest for love -- two sides of the same coin. Knightley exhibits a whole host of transformations on her face; though she relies a bit too much on some obvious reactions to transmit emotions, she's an empathetic Anna, willing us to understand why she has done all she has done, in the name of love. Taylor-Johnson is a sensual Vronsky; Anna's attraction to him is understandable, if a folly. And Law is magnificent in the economy and power of his portrayal of the cuckolded Karenin. Bottom line? This adaptation, written by playwright Tom Stoppard, is brave and sometimes claustrophobic but for the most part a success, even if you do wonder about the possibilities that could have been explored had Wright taken a more conventional route.