Before Midnight brings a wonderful trilogy to the perfect end.

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I can’t believe it’s been eighteen years!  Wow!  Time truly does fly.  Before Midnight brings us back to visit the small, quiet universe created by Richard Linklater and then enriched by its stars and co writers Ethan Hawke and Julie Delpy.   With the Before trilogy, this talented trio has brought us one of the most honest, real and un-Hollywood stories about love, self discovery and our connection to others, especially as men and women.  My daughter, Vieve, and I decided to re-watch the two predecessors before the latest installment and it was very interesting to see them back to back.

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It was 1994 when Linklater had this daring idea to make a film, Before Sunrise, that was about two people walking and talking.  That’s it.  Nothing else happens–they walk and talk–and it is brilliant!  A new approach to an old formula of two young people falling in love.  A young American tourist, Jesse bumps into a Parisian young woman, Celine and they decide to explore Vienna together before his flight back to the US.  The evening they share is insightful and biting and yet, tender and hopeful.  Like its young stars, the story addresses the issues that are important to them and although romantic, they are both inexperienced and still have the optimistic view of love and life.  It was wonderful to watch their natural chemistry and to fall in love with these characters.  They part at the end with the promise to meet again in 6 months with no exchange of information–just their word that they will meet.  It is left to the audience to decide their fate.  Did they?  Do they live happily ever after?  Or do they continue with their separate lives with a common memory?

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Nine years later, they told us what happened in Before Sunset.  You know that I won’t give it away :D, but the premise is that they meet again in Paris.  Much has happened and whether they meet, as promised, or not–they are both older and full of life experiences.  It was awesome the way Linklater, Hawke and Delpy connected the two.  Revisiting topics of conversation to show the effects of time, wisdom and the consequences of our choices.  Now Jesse and Celine are a bit more cynical about life and love.  We are offered an honest approach to the decisions people make.  Do we settle?  What is love?  Is it not just commitment and compromise?  Will they find their happily ever after, after all?  Again, brilliant.

Now, another 9 years have passed and they give us Before Midnight.  This time around Jesse and Celine are in a totally different place than either of the earlier films.  And again, they offer an honest approach to relationships and revisit some familiar topics.  Officially middle-aged, they are now confronted with a whole new set of discussions and feelings about life and love (this time in Greece).  It was awesome to find answers to questions asked before–to seem them come full circle in ideas and in actions–and to see them both grow and change.  Side note: Whether you tend to agree with Jesse or Celine–I appreciated the debate brought forth–both sides have valid points and neither is cast as the wrong or right–in other words–it’s a fair fight!  😀  Well done.

I love this trilogy.  Sharply written–full of warmth, humor and truth.  Simply, yet smartly directed–Linklater makes intelligent choices in pacing and flow in all three movies that keeps it interesting–which is necessary when there is a bunch of talking and only talking going on.  😉  Beautifully and skillfully acted.  Both Hawke and Delpy are fantastic throughout!  They put a lot of themselves in the scripts and their wit and intelligence shines through.  How fascinating to create and play a character for so long–to see them evolve–I am sure that is a rare opportunity in film and it’s a pleasure to watch.  Honestly, you do not need more than that, despite what Hollywood says–you really don’t–it is enough.  I enjoyed my 18 years with Jesse and Celine–and I would love to revisit them again–maybe in another 9 years??  If they do–I will be there, ready to see what that chapter brings in their lives.

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Catch Up Time! (Again.)

Playing catch-up…again.  I am seriously behind on current films–life seems to be getting in the way of posting lately–but, I have watched a few.  Here we go with another compilation post!

Robot and Frank

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I LOVED THIS FILM!!  Wonderful.  Every once in awhile you find a treasure and Robot and Frank is a just that.  It is a quiet film from first time director Jake Schreier and TV writer Christopher Ford, that appears simple yet reveals its complexity deliberately and slowly.  It is a shame that Frank Langella was not nominated throughout the award season last year and that this film went almost unnoticed.  Langella is brilliant. I must mention Robot’s voice, which is performed by Peter Sarsgarrd and I was impressed what he is able to achieve without the aid of facial expression.  The supporting cast (Tyler, Marsden and Sarandon) happens to be perfect, too.  This film will touch you and make you consider the passage of time, aging and the moments that connect us to each other.   It is beautiful.  Warm, funny and poignant.  Find it and watch it!  😀

Olympus Has Fallen

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Big and fun!  Olympus Has Fallen reminded me of an 80’s action movie–and that is not totally a bad thing.  Of course, you have to suspend your rational thinking and knowledge of how the American government works (things would’ve never gone that far)–but, it is still fun.  I like the action version of Gerard Butler (than all the horrible rom-coms of late) and was happy to see him kick some ass.  The main star of this film though is director Antoine Fuqua, who knows how to direct tense, well paced action.  Thank goodness!  Because if I had to take this on credibility–it would FAIL!  LOL!

Admission

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I liked Admission–a lot.  Also, it is NOT a romantic-comedy–it is more like a dramedy.   It may have helped that I am a huge Tina Fey and Paul Rudd fan and they have a wonderful chemistry that carries the film.  Director Paul Weitz has yet to make a better film than About a Boy, but he still has a nice style of telling a story.  My favorite aspect though is the non-Hollywood approach to everything.  That is refreshing and adds extra points of awesome.

PS Lilly Tomlin needs to make more movies!  She’s fantastic.

The Oranges

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The Oranges has a very strong, capable cast and a unique approach to a common movie theme, yet somehow it fails to impress.  It is not bad–it just feels uneven.  I think the main problem is tone–the narrative never finds the right approach.  I think it was going for dark comedy, without being truly funny or cutting deep enough.  I did like the freshness of the theme and the honest growth of the characters–but not enough to love it.

Sinister

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Oh Sinister!  At first, I was hooked.  Heavy on mood and a clever, original premise, the story starts strong–yet, I found the typical, horror-movie stupid choices (redeems itself a little too late) and the drawn out tension scenes start to wear you down.  I went from tense…to annoyed (does anyone ever turn ON a light??)… to not scared…to yup, he had it coming.   Not as bad as most of the dumb horror stuff that has come out and with a strong performance by Ethan Hawke, Sinister rises a bit above the norm.

Hitchcock

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So much potential…wasted.  I love Hitchcock!  Truly a genius and innovator in modern film.  I was excited that this was going to revolve around the making of his 1960 seminal film, Psycho–I was expecting behind the scenes drama because it is well-known that this was controversial film, on many levels (a transvestite? a toilet on-screen? nudity (implied or not)? etc–etc)–and yet, it was dull.  All the juicy details were only spoken about and the film spent more time on an obvious “MacGuffin” of Hitchcock’s marriage woes.  NOOOO!

It is even more upsetting because Anthony Hopkins and Helen Mirren are great together.  When they are on-screen it works–the relationship between Hitchcock and his wife, Alma Reville, should have been the main focus, but with their positive dynamic in the forefront.  I tired of the heavy-handed “Hitchcockian” touches throughout–why?  Why did it have to become an homage to his style? Why not focus on the really interesting story of the making of Psycho?   Oh well.   **Sigh**