Let's see if we can maybe turn our two only slightly opposing reviews into a discussion.
Perhaps I might convince you to re-prioritize it? Some quotes from my own reviews of it:
"A beautiful, intensely satisfying look at love and family."
Beautiful, I agree. I thought Green Papaya's beauty really came through in the close-ups, but Vertical Ray captured it throughout. The images were't going for Malick pretty, but more like the feeling of silk running across your face. Like a shower set at the perfect temperature when you're in no rush.
I thought the look at love and family was satisfying enough, but I would not say "intensely" satisfying. I'm probably just arguing over word choice, but the way the film glides into and out of their lives doesn't make for an intense or even thorough experience. Mike Leigh creates much more intense looks at love and family. Another year is a perfect example since it also spends a finite amount of time with it's people. I liked the way Vertical Ray gets into its more dramatic material. It slowly reveals them, like finding cracks when you stare close enough at a beautiful vase.
"Breathtaking work of tranquility and harmony, even while the lives of the characters are thrown out of balance. Tran seeks out beauty wherever he can find it -- in faces, in food, in nature, in walls and ponds and rainstorms. Beauty in mood and music and emotion, and in family. Watching The Vertical Ray of the Sun is like taking a warm bath, or like... well, like being in a ray of sunlight."
I like what you're saying, but it makes the film sound like a lot of pretty style over substance. The one part I don't agree with is Tran seeking "out beauty wherever he can find it." It sounds like he places the story secondary to his pursuit of pretty images. I think he finds a harmony between the beauty and the story. Ultimately that beauty forms a contrast as the stories become not so pretty. His eye doesn't go out of its way to find a pretty image, but creates harmony in all kinds of settings. He also dwells on these shots for far too long. I found that interesting, but I didn't think the stories were touching on interesting ideas (except for the brother and sister.)
All of our talk makes Trans films sound like Wong Kar Wai stuff, but steeped more in family issues, but WKW imagery is out of this world and it's unfair to compare a solid director to a master. Also WKW for all his slow lushness is much better paced. His stuff aches and pulses. After seeing Vertical Ray, I believe Tran is capable of great things. He's got the basics down solid, but there's a hesitation to him, as if anything more daring would be selling out.