Scott Marks 12:30 p.m., July 26
Angelina ("Fat Lips") Jolie debarks in horse-and-buggy Havana, a mail-order bride from Delaware, bearing a trace of her British accent from Lara Croft: Tomb Raider as well as a ready explanation for why she looks in person nothing like her homely photograph: it's because she didn't want a husband who was interested in her for only her beauty. This sounds plausible enough to the would-be bridegroom, Antonio Banderas, who had represented himself as a tobacconist's clerk, instead of as a coffee baron, because he didn't want a wife who would be interested in him for his money. Nor, in their extended honeymoon (extended at least in part thanks to slow-motion), does her grotesque vampery tip him off that something's amiss. Writer-director Michael Cristofer has re-set the pulp novel by Cornell Woolrich, Waltz into Darkness (previously filmed by Truffaut under the name of Mississippi Mermaid), in a more exotic locale in hopes, evidently, of making the unbelievable more believable. Or in hopes that the relentless Latin rhythms on the soundtrack will cast a spell should all else fail. The total effect is hypnotic solely in the sense of soporific. With Thomas Jane, Jack Thompson. 2001.