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What stands out first about Blood and Chocolate is the confidence with which Katja von Garnier establishes its horror film identity. Rather than relying on premise alone, Blood and Chocolate asks Agnes Bruckner and Hugh Dancy to supply personality from the opening stretch. The premise of Blood and Chocolate is established with useful clarity: A teenage werewolf is torn between honoring her family's secret and her love for a man. That direct approach lets Blood and Chocolate u

What stands out first about The Jane Austen Book Club is the confidence with which Robin Swicord establishes its comedy identity. Rather than relying on premise alone, The Jane Austen Book Club asks Kathy Baker and Hugh Dancy to supply personality from the opening stretch. The premise of The Jane Austen Book Club is established with useful clarity: Six Californians start a club to discuss the works of Jane Austen, only to find their relationships both old and new begin to res

What stands out first about Om Shanti Om is the confidence with which Farah Khan establishes its comedy identity. Rather than relying on premise alone, Om Shanti Om asks Shah Rukh Khan and Deepika Padukone to supply personality from the opening stretch. The premise of Om Shanti Om is established with useful clarity: In the 1970s, Om, an aspiring actor, is murdered, but is immediately reincarnated into the present day. That direct approach lets Om Shanti Om use its 2h 42m runn

What stands out first about Sunshine is the confidence with which Danny Boyle establishes its thriller identity. Rather than relying on premise alone, Sunshine asks Cillian Murphy and Rose Byrne to supply personality from the opening stretch. The premise of Sunshine is established with useful clarity: A team of international astronauts is sent on a dangerous mission to reignite the dying Sun with a nuclear fission bomb in 2057. That direct approach lets Sunshine use its 1h 47

What stands out first about Then She Found Me is the confidence with which Helen Hunt establishes its comedy identity. Rather than relying on premise alone, Then She Found Me asks Helen Hunt and Colin Firth to supply personality from the opening stretch. The premise of Then She Found Me is established with useful clarity: April, 39, wants a baby but her husband leaves her. That direct approach lets Then She Found Me use its 1h 40m running time for character, atmosphere and co

What stands out first about Nitro is the confidence with which Alain Desrochers establishes its action film identity. Rather than relying on premise alone, Nitro asks Guillaume Lemay Thivierge and Lucie Laurier to supply personality from the opening stretch. The premise of Nitro is established with useful clarity: Max leads a good life with Alice and their son Théo; that is until Alice is threatened with death while waiting for a heart transplant. That direct approach lets Ni

What stands out first about The Assassination of Jesse James by the Coward Robert Ford is the confidence with which Andrew Dominik establishes its crime drama identity. Rather than relying on premise alone, The Assassination of Jesse James by the Coward Robert Ford asks Brad Pitt and Casey Affleck to supply personality from the opening stretch. The premise of The Assassination of Jesse James by the Coward Robert Ford is established with useful clarity: Robert Ford, who has id

What stands out first about Charlie Bartlett is the confidence with which Jon Poll establishes its comedy identity. Rather than relying on premise alone, Charlie Bartlett asks Anton Yelchin and Robert Downey Jr. to supply personality from the opening stretch. The premise of Charlie Bartlett is established with useful clarity: A rich kid becomes the self appointed psychiatrist to the student body of his new high school. That direct approach lets Charlie Bartlett use its 1h 37m

What stands out first about Young@Heart is the confidence with which Stephen Walker establishes its documentary identity. Rather than relying on premise alone, Young@Heart asks Joe Benoit and Helen Boston to supply personality from the opening stretch. The premise of Young@Heart is established with useful clarity: A documentary on a chorus of senior citizens from Massachusetts who cover songs by Jimi Hendrix, Coldplay, Sonic Youth, and other unexpected musicians. That direct

What stands out first about P2 is the confidence with which Franck Khalfoun establishes its horror film identity. Rather than relying on premise alone, P2 asks Rachel Nichols and Wes Bentley to supply personality from the opening stretch. The premise of P2 is established with useful clarity: A businesswoman is pursued by a psychopath after being locked in a parking garage on Christmas Eve. That direct approach lets P2 use its 1h 38m running time for character, atmosphere and

What stands out first about Ladrón que roba a ladrón is the confidence with which Joe Menendez establishes its comedy identity. Rather than relying on premise alone, Ladrón que roba a ladrón asks Fernando Colunga and Miguel Varoni to supply personality from the opening stretch. The premise of Ladrón que roba a ladrón is established with useful clarity: Two former thieves reunite to rob the biggest thief they know Moctesuma Valdez, a TV infomercial guru who's made millions sel

What stands out first about I'm Not There is the confidence with which Todd Haynes establishes its biographical drama identity. Rather than relying on premise alone, I'm Not There asks Christian Bale and Cate Blanchett to supply personality from the opening stretch. The premise of I'm Not There is established with useful clarity: Ruminations on the life of Bob Dylan, where six characters embody a different aspect of the musician's life and work. That direct approach lets I'm