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What stands out first about Che: Part One is the confidence with which Steven Soderbergh establishes its biographical drama identity. Rather than relying on premise alone, Che: Part One asks Julia Ormond and Benicio Del Toro to supply personality from the opening stretch. The premise of Che: Part One is established with useful clarity: In 1956, Ernesto 'Che' Guevara and a band of Castro led Cuban exiles mobilize an army to topple the regime of dictator Fulgencio Batista. That

What stands out first about The Great Buck Howard is the confidence with which Sean McGinly establishes its comedy identity. Rather than relying on premise alone, The Great Buck Howard asks Colin Hanks and John Malkovich to supply personality from the opening stretch. The premise of The Great Buck Howard is established with useful clarity: A young man, much to the chagrin of his father, becomes the new assistant to an illusionist in decline. That direct approach lets The Grea

What stands out first about The Wrecking Crew! is the confidence with which Denny Tedesco establishes its documentary identity. Rather than relying on premise alone, The Wrecking Crew! asks Brian Wilson and Dick Clark to supply personality from the opening stretch. The premise of The Wrecking Crew! is established with useful clarity: A celebration of the musical work of a group of session musicians known as "The Wrecking Crew", a band that provided back up instrumentals to su

What stands out first about I.O.U.S.A. is the confidence with which Patrick Creadon establishes its documentary identity. Rather than relying on premise alone, I.O.U.S.A. asks Robert Bixby and Humphrey Bogart to supply personality from the opening stretch. The premise of I.O.U.S.A. is established with useful clarity: Few are aware that America may be on the brink of a financial meltdown. That direct approach lets I.O.U.S.A. use its 1h 25m running time for character, atmospher

What stands out first about Faubourg 36 is the confidence with which Christophe Barratier establishes its romance identity. Rather than relying on premise alone, Faubourg 36 asks Gérard Jugnot and Clovis Cornillac to supply personality from the opening stretch. The premise of Faubourg 36 is established with useful clarity: When Chansonia, a nightclub, is shut down by the landlord, the stage manager Pigoil is forced to look for a new job. That direct approach lets Faubourg 36

What stands out first about Wendy and Lucy is the confidence with which Kelly Reichardt establishes its drama identity. Rather than relying on premise alone, Wendy and Lucy asks Michelle Williams and Lucy to supply personality from the opening stretch. The premise of Wendy and Lucy is established with useful clarity: Over the summer, a series of unfortunate happenings triggers a financial crisis for a young woman and she soon finds her life falling apart. That direct approach

What stands out first about Goodbye Solo is the confidence with which Ramin Bahrani establishes its drama identity. Rather than relying on premise alone, Goodbye Solo asks Souleymane Sy Savane and Red West to supply personality from the opening stretch. The premise of Goodbye Solo is established with useful clarity: Two men form an unlikely friendship that will change both of their lives forever. That direct approach lets Goodbye Solo use its 1h 31m running time for character

What stands out first about Emma Smith: My Story is the confidence with which Gary Cook establishes its biographical drama identity. Rather than relying on premise alone, Emma Smith: My Story asks Patricia Place and Katherine Nelson to supply personality from the opening stretch. The premise of Emma Smith: My Story is established with useful clarity: Before her death, Emma Hale Smith reflects on her life: beginning with her childhood, up through her final years in Nauvoo. Tha

What stands out first about Seraphine is the confidence with which Martin Provost establishes its biographical drama identity. Rather than relying on premise alone, Seraphine asks Yolande Moreau and Ulrich Tukur to supply personality from the opening stretch. The premise of Seraphine is established with useful clarity: In 1912 German collector Wilhelm Uhde rents a flat in Senlis to write and take a break from Parisian life. That direct approach lets Seraphine use its 2h 5m ru

What stands out first about Tyson is the confidence with which James Toback establishes its documentary identity. Rather than relying on premise alone, Tyson asks Mike Tyson and Mills Lane to supply personality from the opening stretch. The premise of Tyson is established with useful clarity: A mixture of original interviews, archival footage, and photographs sheds light on the life experiences of Mike Tyson. That direct approach lets Tyson use its 1h 30m running time for cha

What stands out first about Management is the confidence with which Stephen Belber establishes its comedy identity. Rather than relying on premise alone, Management asks Jennifer Aniston and Steve Zahn to supply personality from the opening stretch. The premise of Management is established with useful clarity: A traveling art saleswoman tries to shake off a flaky motel manager who falls for her and won't leave her alone. That direct approach lets Management use its 1h 34m run

What stands out first about American Teen is the confidence with which Nanette Burstein establishes its documentary identity. Rather than relying on premise alone, American Teen asks Hannah Bailey and Jake Tusing to supply personality from the opening stretch. The premise of American Teen is established with useful clarity: A documentary on seniors at a high school in a small Indiana town and their various cliques. That direct approach lets American Teen use its 1h 35m runnin