In an early preproduction meeting, Day Zero director Bryan Gunnar Cole, writer Robert Malkani and producer Anthony Moody sat down to mussel out the film's issue for themselves. If they were called to a military draft, what would each do? The opinions split straight down three ways--Cole as the pacificist, conscious objector, Malkani as the call-to-arms patriot and Moody as the indecisive moderate. In reflection, this conversation imprinted greatly on the Tribeca-premiered feature, each of the filmmakers' thoughts seeped into trio protagonists George Rifkin (Chris Klein), Dixon (Jon Bernthal) and Aaron Feller (Elijah Wood). While the film directly addresses socio-political issues, Day Zero is ultimately a film about the journey of self-discovery, and as such Cole shapes his work with a finesse that lacks moralizing or didacticism. Rather it's a film of purposeful reflection, highlighting each of its characters--and actors--in their most humane and harshly human moments.

Set in the hustle and bustle of modern day New York, Day Zero opens on successful lawyer George, loner taxi driver Dixon and quirky novelist Aaron, all three an odd pairing of friends, all three for the first time dealing with draft cards. With thirty days before their report, the three battle out the various moral standpoints on issues of war. Reluctant to leave his wife Molly (Ginnifer Goodwin) as well as a promising career, George experiments with every way of being declared unfit for service. From pronouncing himself gay to tempting self-mutilation, he confronts the fact that ultimately it's his courage he questions. One note, nice guy actor Klein wrestles out of his persona for the role, delving into points of anger, confusion and thoughtfulness so acute that at moments he creates a suspension of disbelief profound enough to showcase his true dramatic talent. This isn't to say he entirely breaks one note, nice guy Chris Klein. It's just to say that his performance here portends a filmography of much more emotionally striking work. Goodwin, in foil, shines with a huge amount of patience. Her grace and sheer likeability light the screen, and in a film of hard issues, she, much like the other women of Day Zero, brings a much-needed gentleness to the table.

Dixon, meanwhile, sets himself staunchly into his departure, the only ties left in New York those to his adolescent neighbor Mara (Sofia Vassilieva) and burgeoning love interest Patricia (Elisabeth Moss). Without a doubt Bernthal is the film's heart and soul, his performance a breakout and the caliber of his craft so high that it should, even disregarding the very limited theatrical release the film is to receive, establish his status as a sought after and award ready star. Delicate Vassilieva renders yearning with even the slightest gesture, and Moss, competing against some trite dialogue and anecdotes, makes what could have been an unbelievable love story sincere and poignant.

In terms of character arc, it's Aaron, however, whose path is most rocky. With his list of 10 must-do activities before being shipped off to war, Aaron's dilemma is equal parts comic and tragic, and Wood, who handles drama with such a beautiful and innocent flourish, evolves here into a master of the tiny, funny moment. In its failed attempt in Eternal Sunshine, the reveal is shocking and utterly welcome. His levity and easily portrayed awkwardness allow him the perfect transition fodder for the stark outcome of his storyline.

Like a tight knit cord, Klein, Bernthal and Wood also work intimately together, each complementing the others' strengths. In one particularly stirring moment Dixon slams Aaron away, and that brief encounter says more in seconds about cowardice and courage than any amount of on screen intellectualizing or self-conscious sentimentality could.

Best seen as a performance piece, Day Zero, despite the strength of the emotions Cole draws to the surface, has still somewhat missed the boat as a holistic success. Perhaps its the three part cinematic structure or perhaps the lack of an auteurist mark, but Cole stumbles in making a fully realized artistic space for himself. While Matthew Clark's cinematography, particularly his last shots, beautifully capture feelings of forgiveness, compromise and compassion, it's in parts only that Day Zero is memorable. It's in parts one stands in awe.

Day Zero opens in limited released theatrically January 18. For more information on the film visit www.dayzerothemovie.com.