Khoi Vinh has a nice write-up on the great type-casting (hah!) in “Doubt”:
That subtle but meaningful harkening back to the typographer’s personal history, his works and his ideas, and the subsequent link drawn to the subject matter of the movie makes for sharp, canny typography. It’s not just Cheltenham’s aesthetic benefits that are conscripted into service for these titles, but also the ideas that typeface evokes. As typographic selections in cinema go, it has to rank up there among the smartest, and certainly among the most conceptually rewarding I’ve seen.
Too bad the DVD designers didn’t follow the lead of the film; they ended up using Trajan, the go-to typeface for movies. Typical.