All Articles

What stands out first about I Hope They Serve Beer in Hell is the confidence with which Bob Gosse establishes its comedy identity. Rather than relying on premise alone, I Hope They Serve Beer in Hell asks Matt Czuchry and Geoff Stults to supply personality from the opening stretch. The premise of I Hope They Serve Beer in Hell is established with useful clarity: A guy tries to patch things up with his soon to be married pal after botching his bachelor party. That direct appro

What stands out first about Kambakkht Ishq is the confidence with which Sabbir Khan establishes its comedy identity. Rather than relying on premise alone, Kambakkht Ishq asks Akshay Kumar and Kareena Kapoor to supply personality from the opening stretch. The premise of Kambakkht Ishq is established with useful clarity: A romantic comedy about an Indian stuntman who takes Hollywood by storm but cannot find true love. That direct approach lets Kambakkht Ishq use its 2h 22m runn

What stands out first about Nowhere Boy is the confidence with which Sam Taylor Johnson establishes its comedy identity. Rather than relying on premise alone, Nowhere Boy asks Aaron Taylor Johnson and Kristin Scott Thomas to supply personality from the opening stretch. The premise of Nowhere Boy is established with useful clarity: A chronicle of John Lennon's first years, focused mainly in his adolescence and his relationship with his stern aunt Mimi, who raised him, and his

What stands out first about The Joneses is the confidence with which Derrick Borte establishes its comedy identity. Rather than relying on premise alone, The Joneses asks Demi Moore and David Duchovny to supply personality from the opening stretch. The premise of The Joneses is established with useful clarity: A seemingly perfect family moves into a suburban neighborhood, but when it comes to the truth as to why they're living there, they don't exactly come clean with their n

What stands out first about The Double Hour is the confidence with which Giuseppe Capotondi establishes its thriller identity. Rather than relying on premise alone, The Double Hour asks Ksenia Rappoport and Filippo Timi to supply personality from the opening stretch. The premise of The Double Hour is established with useful clarity: A chambermaid and an ex cop meet at a speed dating event and a romance develops. That direct approach lets The Double Hour use its 1h 35m running

What stands out first about Cairo Time is the confidence with which Ruba Nadda establishes its romance identity. Rather than relying on premise alone, Cairo Time asks Patricia Clarkson and Alexander Siddig to supply personality from the opening stretch. The premise of Cairo Time is established with useful clarity: A romantic drama about a brief, unexpected love affair that catches two people completely off guard. That direct approach lets Cairo Time use its 1h 30m running tim

What stands out first about Coco Chanel & Igor Stravinsky is the confidence with which Jan Kounen establishes its romance identity. Rather than relying on premise alone, Coco Chanel & Igor Stravinsky asks Anna Mouglalis and Mads Mikkelsen to supply personality from the opening stretch. The premise of Coco Chanel & Igor Stravinsky is established with useful clarity: Paris 1913. That direct approach lets Coco Chanel & Igor Stravinsky use its 1h 59m running time for character, a

What stands out first about Bad Lieutenant: Port of Call New Orleans is the confidence with which Werner Herzog establishes its comedy identity. Rather than relying on premise alone, Bad Lieutenant: Port of Call New Orleans asks Nicolas Cage and Eva Mendes to supply personality from the opening stretch. The premise of Bad Lieutenant: Port of Call New Orleans is established with useful clarity: Terence McDonagh is a drug and gambling addled detective in post Katrina New Orlean

What stands out first about Harry Brown is the confidence with which Daniel Barber establishes its action film identity. Rather than relying on premise alone, Harry Brown asks Michael Caine and Emily Mortimer to supply personality from the opening stretch. The premise of Harry Brown is established with useful clarity: An elderly ex serviceman and widower looks to avenge his best friend's murder by doling out his own form of justice. That direct approach lets Harry Brown use i

What stands out first about The Mighty Macs is the confidence with which Tim Chambers establishes its sports drama identity. Rather than relying on premise alone, The Mighty Macs asks Carla Gugino and Marley Shelton to supply personality from the opening stretch. The premise of The Mighty Macs is established with useful clarity: In the early '70s, Cathy Rush becomes the head basketball coach of a tiny girls' Catholic college that has no gym and is in danger of being sold, and

What stands out first about I Love You Phillip Morris is the confidence with which Glenn Ficarra establishes its comedy identity. Rather than relying on premise alone, I Love You Phillip Morris asks Jim Carrey and Ewan McGregor to supply personality from the opening stretch. The premise of I Love You Phillip Morris is established with useful clarity: A cop turns con man once he comes out of the closet. That direct approach lets I Love You Phillip Morris use its 1h 38m running

What stands out first about A Prophet is the confidence with which Jacques Audiard establishes its crime drama identity. Rather than relying on premise alone, A Prophet asks Tahar Rahim and Niels Arestrup to supply personality from the opening stretch. The premise of A Prophet is established with useful clarity: A delinquent Muslim man struggles to get by in prison until he is taken under the wing of a powerful mob boss. That direct approach lets A Prophet use its 2h 35m runn