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What stands out first about Stealing Harvard is the confidence with which Bruce McCulloch establishes its comedy identity. Rather than relying on premise alone, Stealing Harvard asks Jason Lee and Tom Green to supply personality from the opening stretch. The premise of Stealing Harvard is established with useful clarity: A middle class man turns to a life of crime in order to finance his niece's first year at Harvard University. That direct approach lets Stealing Harvard use

What stands out first about The Emperor's Club is the confidence with which Michael Hoffman establishes its drama identity. Rather than relying on premise alone, The Emperor's Club asks Kevin Kline and Emile Hirsch to supply personality from the opening stretch. The premise of The Emperor's Club is established with useful clarity: An idealistic prep school teacher attempts to redeem an incorrigible student. That direct approach lets The Emperor's Club use its 1h 49m running t

What stands out first about Ballistic: Ecks vs. Sever is the confidence with which Wych Kaosayananda establishes its action film identity. Rather than relying on premise alone, Ballistic: Ecks vs. Sever asks Antonio Banderas and Lucy Liu to supply personality from the opening stretch. The premise of Ballistic: Ecks vs. Sever is established with useful clarity: Tasked with destroying each other, an FBI agent and a rogue DIA agent soon discover that a much bigger enemy is at wo

What stands out first about Life or Something Like It is the confidence with which Stephen Herek establishes its comedy identity. Rather than relying on premise alone, Life or Something Like It asks Angelina Jolie and Edward Burns to supply personality from the opening stretch. The premise of Life or Something Like It is established with useful clarity: A reporter interviews a psychic, who tells her that she's going to die and her life is meaningless. That direct approach let

What stands out first about Solaris is the confidence with which Steven Soderbergh establishes its mystery identity. Rather than relying on premise alone, Solaris asks George Clooney and Natascha McElhone to supply personality from the opening stretch. The premise of Solaris is established with useful clarity: A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet. That direct approach lets Solaris use its 1h 39m runn

What stands out first about In America is the confidence with which Jim Sheridan establishes its drama identity. Rather than relying on premise alone, In America asks Paddy Considine and Samantha Morton to supply personality from the opening stretch. The premise of In America is established with useful clarity: A family of Irish immigrants adjust to life on the mean streets of Hell's Kitchen while also grieving the death of a child. That direct approach lets In America use it

What stands out first about Half Past Dead is the confidence with which Don Michael Paul establishes its action film identity. Rather than relying on premise alone, Half Past Dead asks Morris Chestnut and Steven Seagal to supply personality from the opening stretch. The premise of Half Past Dead is established with useful clarity: A man goes undercover in a hi tech prison to find information to help prosecute those who killed his wife. That direct approach lets Half Past Dead

What stands out first about Far from Heaven is the confidence with which Todd Haynes establishes its romance identity. Rather than relying on premise alone, Far from Heaven asks Julianne Moore and Dennis Quaid to supply personality from the opening stretch. The premise of Far from Heaven is established with useful clarity: In 1950s Connecticut, a flustered housewife faces a marital crisis and mounting racial tensions in the outside world. That direct approach lets Far from He

What stands out first about Confessions of a Dangerous Mind is the confidence with which George Clooney establishes its comedy identity. Rather than relying on premise alone, Confessions of a Dangerous Mind asks Sam Rockwell and Drew Barrymore to supply personality from the opening stretch. The premise of Confessions of a Dangerous Mind is established with useful clarity: An adaptation of the cult memoir of game show impresario Chuck Barris (Sam Rockwell), in which he purport

What stands out first about Kung Pow: Enter the Fist is the confidence with which Steve Oedekerk establishes its comedy identity. Rather than relying on premise alone, Kung Pow: Enter the Fist asks Steve Oedekerk and Fei Lung to supply personality from the opening stretch. The premise of Kung Pow: Enter the Fist is established with useful clarity: A rough around the edges martial arts master seeks revenge for his parents' death. That direct approach lets Kung Pow: Enter the F

What stands out first about White Oleander is the confidence with which Peter Kosminsky establishes its drama identity. Rather than relying on premise alone, White Oleander asks Michelle Pfeiffer and Renée Zellweger to supply personality from the opening stretch. The premise of White Oleander is established with useful clarity: A teenager journeys through a series of foster homes after her mother goes to prison for committing a crime of passion. That direct approach lets Whit

What stands out first about Serving Sara is the confidence with which Reginald Hudlin establishes its comedy identity. Rather than relying on premise alone, Serving Sara asks Matthew Perry and Elizabeth Hurley to supply personality from the opening stretch. The premise of Serving Sara is established with useful clarity: A process server tries to serve an elusive female target. That direct approach lets Serving Sara use its 1h 39m running time for character, atmosphere and con