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Annabelle Robertson (Crosswalk) takes issue with the portrayal of Becky. "Thackeray portrayed Becky as a beautiful, scheming villain willing to do anything to succeed, and even subtitled his book 'A Novel Without a Hero' because Becky was an anti-heroine. Thackeray also structured his novel as a 'compare-and-contrast' between two women, Becky and Amelia, following the different paths their lives take over a 40-year period. Nair focuses instead on Becky, softening her into an ambitious but likeable gal who is simply trying to overcome poverty and 'do better for herself.'"

She concludes that "trying to condense a 900-word novel into a film is no easy task, and while it drags at times, Nair's effort is a good one."

Marvin Olasky (World) reports, "The essential problem … is that this film makes [Becky] more hit upon than hitting. The novel's Becky Sharp is essentially a villainess, preying on the seriously ill and sending men to their deaths. The movie's Becky Sharp is a heroine, a poor but ambitious orphan who does what she has to do." This change, Olasky notes, reflects "our general movement from emphasizing individual character to seeing individuals as stuck within a system and thus not responsible for their actions."

Adam R. Holz (Plugged In) comments on the character: "Becky Sharp is an engaging and sympathetic figure, and we want her to reach her goal. At the same time, it becomes increasingly clear that Becky's choices will result in the tragic loss of the relationships most dear to her." He concludes, "Vanity Fair could be a good starting point for mature discussion about what matters most in life. It has much to offer thoughtful and patient viewers who are willing to talk about its messages and morals."

Sheri McMurray (Christian Spotlight) finds it lacking. "Although done well with a beautiful emphasis on period costume and design, Vanity Fair left me wishing it had a richness to the fabric of it's characters as well. Even though it was meant to be poignant it didn't bring the viewer into the character's lives as deeply as needed to truly sympathize with their plights."

Michael Elliott (Movie Parables) writes, "Nair and her crew exceed expectations in how well they portray early 19th century England (as well as India, Germany and Brussels). The script … neatly condenses Thackeray's 900-page epic to its key elements and although it does whitewash some of the more unsavory aspects of the tale, those decisions are well within the Victorian practice."

Mainstream critics were almost evenly split over the film.

Kevin Miller (Hollywood Jesus) says, "As this film so clearly shows, without love, all is vanity. And despite all that she gains and loses, love is the one thing Becky seems incapable of either giving or receiving—unless it serves her purposes. I cannot think of a better illustration of Christ's words in Mark 8:36, 'And how do you benefit if you gain the whole world but lose your own soul in the process?'"

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