Like Grace Kelly, Ingrid Bergman, and Greta Garbo before her, Blake Lively has got the kind of glamorous, rarified Hollywood beauty that makes time stand still. In The Age of Adaline she plays Adaline Bowman, a young woman for whom time stands still quite literally, a freak accident in the early 20th century endowing her with the gift (curse?) of eternal youth. Set in present-day San Francisco, Adaline is a romance fantasy with a preposterous-but-amusing supernatural premise, a great cast, and a promising young director in Lee Toland Krieger (The Vicious Kind, Celeste and Jesse Forever), who’s made a conventional story feel new again not by reinventing the wheel, but by giving his all to make the best damn wheel he can.

While we’ve collectively, understandably developed a cringe reflex in the midst of the current Nicholas Sparks wave of cheesy rom-coms (a wave that shows no signs of receding, god help us), Adaline is a modern romance worthy of an honest look. Lively (and her stunning wardrobe) will catch your eye immediately, but it’s her moving turn as a girl time forgot that’ll keep you in your seat. Better still, the film gives you something to take home with you, a powerful message about the quality of time as opposed to the quantity of it.

When we first meet Adaline it’s the present day, and she’s actually not Adaline: she’s Jennifer Larson, a 29-year-old archivist living in San Francisco. In a series of flashbacks sparked by vintage newsreels she digs up at work, we learn her superhero-like origin story. Adaline Bowman was born in 1908 and grew to be a beautiful young woman, finding herself in a happy marriage and blessed with a cute-as-a-button daughter, Flemming. Then, the accident: Reeling from the sudden death of her husband, Adaline crashes her car in the middle of a rare California snowstorm, plunging into a freezing cold river. A lightning bolt saves her from certain death, and in addition to jumpstarting her heart, the jolt of electricity stops her body’s aging process. The science of the phenomenon is explained in storybook-style narration by Hugh Ross, who cites a thermonuclear law that won’t be discovered until 2035. It’s a funny little wink of a joke that helps the absurdity of it all go down the hatch much easier.

As time passes her by and her loved ones out-age her (present-day Flemming easily passes as her grandmother), Adaline is forced into a life on the run, mostly to stay out of the hands of the government, who’d most likely like to cut her open and exploit her unique immunity to aging. This brings us up to speed and back to Jennifer Larson, her cover for the time being until she moves to a new city and assumes a new identity.

While some may view the prospect of preserved youth as a dream come true (I’m turning 30 in about a month, so to me the idea sure doesn’t suck), Adaline’s found her life to be lonely and cold. She can’t start any long-term friendships. Adaline is constantly forced to deceive almost everyone around her, whipping up lies out of thin air so as to not give away her extraordinary condition. You can see the veiled torment on her face as she shoos people away, throwing to the wind what might have been beautiful human connections.

The worst part of the deal for Adaline is that she must avoid or stamp out any potential romances. Aside from one “moment of weakness”, Adaline’s managed to keep the boys at bay; that is, until she meets charming philanthropist Ellis (Game of Thrones‘ Michiel Huisman), whose dogged flirting (and dashing good looks) at a New Year’s Eve party earns him a spot in the back of Adaline’s mind. Though reluctant at first, she eventually can’t resist Ellis’ charms, and for the second time in her post-lightning bolt life, she has a “moment of weakness.”

The first half of the movie is mostly carried by Lively, as the proceedings are pretty conventional, running through a litany of rom-com clichés. When things start to get more serious between Adaline and Ellis, however, an unexpected twist shakes up the entire movie, changing the mood and upping the stakes way higher than one would expect. The sudden change in tone revolves around a contrivance that’s arguably more implausible than Adaline’s condition, but if you bought the car crash, you’ll probably be fine with it. The main cast doubles in size, adding Kathy Baker and Harrison Ford into the fold as Ellis’ parents. The movie gets really, really good from this point on, and the addition of the older cast members seems to light a fire under Lively and Huisman, who noticeably step up their game.

The film’s greatest gift might be that it harbors one of Ford’s best performances in years. You can never tell these days how invested he’ll be in any given project, but Krieger must have the magic touch. I can’t remember the last time Ford looked so invigorated. He’s not playing a grumpy man (himself) here, but rather a man who’s missing something deep in his soul and carries around a world of regret. Almost every scene he’s in threw me for a loop.

Even Ford can’t outshine the luminous Lively, though. Adaline is a complex role that poses several challenges: Lively is a 27-year-old actor playing a centenarian who’s playing a 29-year-old; she has to speak with a faint pre-war accent (she nails it); and she has to be the authority figure in scenes with Ellen Burstyn, an actor 55 years her elder, who plays her daughter. The blossoming actress pulls it all off effortlessly, and she looks like a zillion bucks doing it.

Screenwriters J. Mills Goodloe and Salvador Paskowitz’s dialogue is hit and miss (their talent is more evident in their broad narrative strokes), but Lively makes the words sing with her controlled, gentle delivery. She also looks jaw-dropping in the period outfits draped on her by costume designer Angus Strathie, but that’s just the (ridiculously expensive) icing on the cake. The best compliment I can give the Gossip Girl actress is that I’m genuinely excited to see what she does next.

The story takes place in modern-day San Francisco, but Krieger’s version of the city is one that mercifully ignores the tech boom that currently threatens to sand down the city’s odd, beloved idiosyncrasies. He and cinematographer David Lanzenberg instead accentuate the city’s eerie side, setting Adaline and Ellis’ courting encounters in forgotten underground tunnels, shadowy abandoned warehouses and old hotels. The foggy City by the Bay is a fitting setting for a story so hauntingly romantic.

Michiel Huisman is best known for his work on TV, his turns on Treme, Nashville, and Game of Thrones making him the object of desire for female (and male) binge-watchers everywhere. And rightfully so! He’s crazy handsome, and despite hailing from Amsterdam, he can pull off any accent asked of him, making him a shoe-in for every hunky TV role that pops up.

The Dutch actor has greater aspirations than being relegated to playing the muscly eye candy on every project he takes, though. Despite the success of Game of Thrones, in which he plays Daenerys Targaryen’s oft-disrobed lover and quasi-advisor Daario Naharis, between shooting seasons of the show, he’s made it a mission to take on more dimensional roles and jump from the world of TV and into the movie theater.

Enter The Age of Adaline, Lee Toland Krieger’s San Francisco-set romance with a sci-fi twist. In it Blake Lively plays Adaline, a twentysomething who at the turn of the 20th century is struck by lighting following a fatal car accident, reviving her and, most amazingly, stopping her body’s aging process. As the people she loves begin to out-age her (including her daughter), she’s forced to live a life on the run to avoid being caught by people who may want to exploit her anti-aging properties.

Huisman plays Ellis, a modest philanthropist whose connection with Adaline might be strong enough to compel her to stop running. Ellis seems like standard rom-com fare at first, but when his father (played by Harrison Ford) comes into the picture, the story takes an unexpected turn that changes everything. Huisman’s first major role in a feature film is a memorable one that gets his movie career of on the right foot.

I spoke with Mr. Huisman in a roundtable interview during his visit to San Francisco to promote The Age of Adaline, though Game of Thrones talk inevitably popped up as the conversation went on.

The Age of Adaline hits theaters nationwide this Friday, April 24th.

How much filming did you guys do in San Francisco?
That’s the kind of question I try to avoid, and you start with it! [laughs] The thing is, shooting in San Francisco is a pain. We shot most of the movie in what we refer to as “San Francouver.” It was very strange for me, playing a character that is very much rooted here in San Francisco. It wasn’t until later, after we chopped the movie, that I made my first visit to the city. It seems to be the story of my life, shooting somewhere that’s supposed to take place somewhere else. I was here two weeks ago for the Game of Thrones premiere. Apart from one afternoon walking around and seeing as much as I could, the next day I had somebody take me around town, and I saw a lot. I managed to see the Bliss Dance statue on Treasure Island. You guys see that one?

No!
You should go see it! It’s awesome!

How did you get involved with the film?
By the time the script reached me I was already aware of Blake [Lively] being attached to it, as well as Harrison Ford. The thought of being able to play the male lead opposite Blake and being the son of Harrison Ford in one movie is too much for me, really. That was before I had even read the script. When I read the script, I was swept away by this journey of a woman through time. I thought it could become a very, very romantic movie that kind of feels like a small, independent, well-crafted movie, but at the same time, hopefully it appeals to a large audience. For me there is not a doubt in my mind; I was dying to be a part of it. Also, I come from doing a lot of great TV stuff, which I’m very proud of, but I was really eager to make that step and break into film. The Age of Adaline is special for me from that perspective because it marks the first time I’m playing a leading role in a proper Hollywood production.

Are you getting more offers now to play the “hunk” in movies and TV?
Yes, but I think it’s very important as an actor to spread your wings constantly and to not fall for the same thing. One of the things I thought was important during my hiatus between two seasons of Game of Thrones was to shoot a cool movie in which I’m not holding a sword. The Age of Adaline really hit that button.

One through line in your work is that you play a lot of characters that support strong, incredible female characters. Are you drawn to that?
I’m very thankful for the opportunity to work with [those actresses]. I love stories about strong women. I think that there aren’t enough stories about strong women in film and TV. I worked with Reese Witherspoon on Wild and I admired that entire project so much, and the way she played that character, too. If you look at it from that perspective, yeah, I get to support strong women, and that’s cool. I love that. But I also love stories about strong men. [laughs] Maybe in the future I get to play the strong man.

One of the most beautiful messages in the movie is about the quality of time as opposed to the quantity of time.
This woman’s found the so-called fountain of youth, and it turns out to be such a burden. I thought it was a very nice concept. I thought [the sci-fi element of the story], at least on the page, was not so far of a stretch. For a second I thought, “Maybe I should Google whether this is scientifically possible.” Maybe not with a human, but with a mouse. Can you actually kill it and then bring it back to life? I like that idea. You have to kind of go along with the movie’s concept, and I hope the audience will.

What kind of roles do you seek out?
I shot this movie basically a year ago. I went back to Game of Thrones, and it’s a show that’s so much about moments. There’s such a big cast, and as an actor I feel like I want to try to nail the moment. I was hoping to do projects during my next hiatus that don’t force me to nail a moment, that really allow me to be a character and carry a story not for a couple of scenes, but the whole way through. That’s how I pick, together with my team, the project I’m working on during this hiatus. I’m about to finish a movie we shot in Australia. We have a week left of stuff in New York…there you go! [laughs] San Francouver, shot in Sydney, takes place in New York. It’s very much a story in which I get to carry it the whole way through. I really enjoyed the freedom it gave me. In a certain sense, it adds a little pressure because I’m carrying the story. If the movie doesn’t work, it’s kind of on me. But when I’m shooting, I don’t really think about that. That comes a year later when I’m talking to people and they’re actually going to see this movie. When was shooting, I didn’t have four scenes to tell a story and sell a character, but one hundred and four.

Did you feel like you got to have that kind of arc on Treme? Even though it’s an ensemble, it was developed very thoroughly.
That arc was very gratifying to play, but it was that same thing. You get a couple scenes every episode. I love being part of a show, like Game of Thrones for example, that is so well made and so well written. The moments I’m trying to nail as an actor…they’re handing them to me on a little golden plate. “Here you go! You can say to the mother of dragons, ‘The queen of dragons without dragons is not a queen.'” You’re going to do everything you can to try and nail that line! I’m so grateful for that. But when I’m off of [the show], I try to do different stuff. Not only different genres and different characters, but [projects] I can carry.

I’ve met Harrison Ford once, and it was the most terrifying experience. I said, “Hello Mr. Ford!” and he just grunted and walked away. Was it intimidating working with him?
It was a different experience, really. [laughs] It’s a little intimidating for the first ten minutes because of who he is and because I admire him. But when we started working I was kind of surprised by how invested he was in this project and in this story. I think part of me though that, for him, this is just a little movie on his roster. But I felt like it wasn’t, and he gave it his all. Once he enters the movie, it not only puts it into another gear, but he also put me into another gear. He forced me to step it up. God, I loved it.

Harrison’s kind of known to not play well with fans. He hates hearing about Indiana Jones and Star Wars.
Everybody’s constantly asking me, “Did you ask him about Star Wars?!” Obviously not! [laughs]

Now you’re getting a little taste of that with Game of Thrones. You’re playing Daario!
The strange thing is, people are probing, but not really. They don’t really want to know. At least that’s my experience. “What’s happening? Don’t tell me!” I think it’s funny. You don’t want to know, really. You’d go crazy if I told you.

Daenerys’ storyline is going differently on the show than in the book.
We’re letting go of the books this year. I shouldn’t say more. [laughs] Everything I say is some kind of spoiler-y thing.

To bring it back to The Age of Adaline, your character, Ellis, uses his wealth philanthropically. What would you do if you suddenly came into tens of millions of dollars?
I would definitely set up some philanthropic foundations. A line in the movie I really liked was when he says, “It’s actually really hard to do good.” You try to do good and make the most of the money, but it’s actually really hard. Maybe it would be [a foundation] for the arts, something helping kids find a way into expressing themselves through music or acting, things that have given me so much fun and eventually a career.

Premiering at the Toronto International Film Festival in 2011 was Hick, a film directed by Derick Martini about a teenager who aimlessly drifts away from her Nebraska home. Aimlessly drifts are a common theme here because the entire film seems to follow the main characters lead. The film tried to be bizarre and off-beat but ultimately it felt more contrived than anything.

One of the first scenes in Hick is Luli McMullen (Chloe Grace Moretz) having her thirteen year old birthday party at a crappy dive bar in Nebraska. One of the birthday gifts she opens up happens to be a .45 Smith & Wesson. Afterwards her mother and father both drunkenly fight over who is driving her home but both are too drunk to do so. Instead, she gets a ride from a person who works at the bar. That is how this family operates in a nutshell.

The next morning her mother leaves with a real estate agent with Luli witnessing. After telling her father the news, he seems more upset than surprised. After he finishes his breakfast also abandons her. On a whim she gets the idea of going to Las Vegas for no other reason but there is sugar daddy potential there. And that is how the adventure starts and we have little choice to accept this as the plot.

Luli manages to find a ride from a young gentleman named Eddie Kreezer (Eddie Redmayne) but it is not long before she manages to upset him enough to kick her out. After finding shelter to sleep underneath a bridge she is awakened by a woman who pulled over from the highway to urinate, nearly on her. Somehow she convinces the woman to give her a ride.

The woman’s name is Glenda (Blake Lively) who seems to be exactly like Luli in 30 years. Within the first few minutes of meeting each other Glenda offers cocaine to Luli. Her thought process is that Luli will probably doing it with her friends sometime soon anyways so why not let her try it now.

The two stop at a convenience store and form a plan to rob it. Both feeding of each other’s similar personalities, they are a dangerous combination. If there were related they would be a twisted mother and daughter version of Bonnie and Clyde.

It turns out that Eddie, who first picked Luli up for a ride, knows Glenda. Glenda is in some sort of relationship with Eddie’s boss and for no good reason Eddie is put in charge of looking after Luli. Eddie seems to have a sexual connection with Luli that soon becomes dangerous.

I have little doubt that the novel this film was adapted for would be more intriguing then it’s film counterpart. This is one of those cases where the book most likely did not translate well to film, although I have to speculate because I have not read the novel. I felt like the characters in Hick were not developed well enough as they could have and the film only skimmed the subject matters they encounter.

The best part about the film is the performance by Chloe Grace Moretz. She is a fearless teenager who waves guns around like they are nothing and snorts coke when given the chance. She has played in roles ranging from Kick-Ass to Let Me In to Hugo but probably never has had as much on-screen face time as this. When most of the other actors seem to overplay their characters she was the least offender.

What annoyed me the most is when Luli suddenly shows that she does have normal human emotions when she for some reason is mad when Glenda leaves her. She did not seem to bat an eye when her mother did the same thing at the beginning. Now granted, her mother did not seem to care much for her so maybe she saw Glenda as a role model to look up to. But why? Maybe she wanted to believe Glenda was a better person than she really was. Again, lack of character development.

There is more than one scene that will leave you scratching your head. I appreciated the strangeness that was found in the scenes but so many of them felt forced. They really did not seem to fit in or were not needed at all.

To use the film’s own words, Hick is not “worth of note”. The big problem is the film never hooks the viewer in from the beginning. So the story arc never seemed to peak because it never really began. The underdeveloped characters make it nearly impossible to sympathize with them, making you wonder what the film was trying to accomplish.