Ten Statements About....BEFORE SUNRISE (1995)

Sometimes all you need is two people to create compelling
cinema....

"Think of it like this: jump ahead, ten, twenty years, okay, and you're married. Only your marriage doesn't have that same energy that it used to have, y'know. You start to blame your husband. You start to think about all those guys you've met in your life and what might have happened if you'd picked up with one of them, right? Well, I'm one of those guys. That's me y'know, so think of this as time travel, from then, to now, to find out what you're missing out on. See, what this really could be is a gigantic favor to both you and your future husband to find out that you're not missing out on anything. I'm just as big a loser as he is, totally unmotivated, totally boring, and, uh, you made the right choice, and you're really happy."
"Let me get my bag."

1) Maybe it's because Richard Linklater isn't as ever-present and larger than life than his larger-than-life filmmaking peers like Tarantino and Kevin Smith, but I'd put him right up with the others as a master of true-to-life dialogue. This movie boils down to two people having an extended conversation...and it's just as engaging as another film full of action and explosions and all sorts of bright shiny things.

2) And one of the brilliant things about this film full of brilliant things is how Linklater includes all the elements of the romantic comedy--the 'meet cute,' the big city backdrop, the first date, the first fight, even the weird supporting characters--and compresses it into a single night, removing all the artifice and silly behavior to just create what amounts to a wonderful little short story in filmic form. And never once does Linklater forces Ethan Hawke's Jessie or Julie Delphy's Celine into situations or actions just so the plot will move forward.

3) And what's more--this movie will never, ever date. The only real cultural reference is the one made to Hemingway, and maaaaybe the only thing that will seem out of place is Hawke's very 90's hairstyle. There will be college students a hundred years from now who will watch this film and get the same things out of it I got out of it when I first saw it.

Ahhh, Julie Delphy...if it wasn't for Killing Zoe, you might
have been The Beautiful One...

4) Ahhhhhhh, Julie Delphy...one of the most beautiful women I've ever seen, with one of the easiest smiles ever. Not a smile that will light up a city like some women, but will keep you warm in your cabin on a cold midwinter's night. When I first saw this film, I thought I could watch her in anything....and then I ended up watching Am American Werewolf In Paris...and Killing Zoe...and...

Well, you get the point. Thank God I always have this, which is a showcase for her as a woman and as an actress.

5) This film would not have worked without the chemistry between Delphy and Hawke. Not only do we get this sense that Jessie and Celine have a life outside this film, we get a sense that this is a seminal moment in their lives solely through their interaction with each other--and all without the big gestures and grand standing that mainstream Hollywood would consider 'romantic'....

6) I know most people would be puzzled as to why there are no subtitles when Jessie and Celine encounter other folks...but Linklater knows that what these people are saying is inconsequential. After all, both of our heroes are foreigners in the land they inhabit, and since they're our POV characters it makes sense that they wouldn't know what they're speaking about. And Hell, we don't even need to know what the annoying couple that prompts Celine to move her seat are talking about; their only purpose is to spur her on to meeting Jessie, so why they're arguing is inconsequential.

7) What struck me watching the film this time is the body language between Hawke and Delphy. The things they do when they're together speak volumes about what they're thinking. Even something as simple as Delphy taking Hawke's arms and wrapping it around herself while they're walking down the street, neither looking or acknowledging this act, is a beautiful indicator of their thoughts.

8) Of all the satellite characters, I love Dominic Castell's street poet the most. There's something really compelling about the deal he makes with the two, and the poem actually is amazing...to the point where you get the fact that even Jessie is impressed even though he is mocking the man as he leaves.

"Hello...hello...this imaginary phone doesn't work..."

9) I love how Linklater trusts our actors (he apparently spent nine months looking for the right combination before going into production) enough to leave so many areas open to interpetation. A lesser director would have given us an actual sex scene between Hawke and Delphy; Linklater never tells, letting us take the fact that Celine is no longer wearing a t-shirt after the scene on the lawn (and Jessie may very well be wearing it) and come to our own conclusion.

10) And Linklater has the guts to let this film end the way it should have--not with Jessie abandoning his intentions to return to the States, or with Celine deciding to go with him, or with a flash forward to six months later...he lets this remain this one perfect, discrete moment in these two people's lives and lets us decide what happened next. And while he has returned to these characters twice (in a scene in his surreal cartoon Waking Life, and in the 2007 sequel Before Sunset), we can keep our conclusions as the perfect coda for us.

Overall...a beautiful, wonderful jewel of a film that is near perfect from beginning to end, it can be funny, sexy, sweet and lovely all at the same time. Anyone who thinks modern romantic films are the death of cinema need to see this to see how this is done.

Ten Statements About....DAYBREAKERS (2009)

Willem DaFoe and Ethan Hawke--two men who do NOT
need any make-up to play vampires....

1) This film understands something that Legion wishes it did--namely, you need to lay down the mythology of your story as quickly as possible, and that includes all the little hints toward the denouement. Even tiny things like the existence of 'Subwalks' that allow vampires to walk around during the daylight help emphasize the fact that this world has had a long time to settle in.

2) I know everyone's made jokes about Ethan Hawke's being a vampire explaining everything...but MAN, does vampirism explain a lot about how San Neill hasn't changed save for his weight.

3) The weakness of the script is simple--the Spierig Brothers spend so much time creating and maintaining their world, down to the tiniest detail that the actual story comes off as a little sketchy (even though everything that happens is set up at earlier points, and the big reveal makes sense given the information we're presented with.

4) I think I would have preferred that the city not be explicitly American--the film was shot in Australia--as it intentionally bears no resemblance to any city that humans would build.

5) I would have liked to see more of the relationship between Edward (Hawke) and Frankie (Michael Dorman), not only because Dorman is excellent in a role that keeps playing different angles in this developing situation, but because I think it would have strengthened the impact of the two characters' ultimate fate.

6) Conversely, I wonder if the film doesn't suffer from the constant implications of a growing romance between Edward and Audrey (Claudia Karvan)...it doesn't really contribute anything to the film given the early establishment of Edward's sympathy toward the human race, and comes off as being there just because The Audience Would Expect It.

7) Also gratuitous is the subplot involving Audrey Bromley (Isabel Lucas). It does nothing for the story except muddy up the water concerning the progression of vampire to 'subsider.'...

This is what happens when you don't drink your blood...

8) ...which, quite frankly, didn't need to be muddied up, as the film plays havoc with the biology of the change, and how long it takes for a vampire to waste away into the admittedly cool, Nosferatu-meets-the-Coppola-Dracula creatures.

9) Man...while I get the reasoning behind the ultimate resolution of the film's situation....Hollywood has never quite figured out a way to cure vampirism that doesn't sound dopey, has it?

10) Look--you can have your cured vamps still showing the deleterious effects of the treatment like Willem DeFoe's Elvis (no relation), or you can have those effects disappear after the cure, like with Edward...you can't have both.

Overall...I really did appreciate the Spierig Brothers' world building, and they really did do their homework. However, I think they emphasized the wrong emotional arcs, choosing characters who didn't need as much emphasis over those that did. It's a smart film that didn't do enough to show how smart it is, and maybe should be viewed more as an exercise in world building than as a fully developed package. Entertaining--doubly so after enduring the relentless dumbness of Legion.

Incidentally, this is the film that has broken the Regal Union Square Jinx, as, you know, I saw it at the Regal Union Square and it didn't Suck. I can't clearly remember the trailers, although for a change the cursed Regal Firstlook showed me something I wanted to see--a little mini-interview with Clint Eastwood to publicize the upcoming 35 Years-35 Films box set.

Oh, and I got a free movie ticket thanks to my Regal Club Card--which means I might be able to see my beloved Kristin go down the Road To RomCom Hell without actually contributing any money to sending her there.