REVIEW: Before Midnight

**** out of ****

[Warning: slight spoilers for Before Midnight and the previous films in the Before series within]

Roger Ebert once said, “Every great film should seem new every time you see it.” It has been a long time since I have seen a film in-theater that can meet this criterion, but my second viewing of Richard Linklater's Before Midnight confirmed that it is one of them. What a remarkable film, in a truly remarkable series.

Taken as a whole (though we can hopefully look forward to plenty more adventures with these two characters), the Before series comprises the fullest, most three-dimensional romance ever committed to film. When Jesse (Ethan Hawke) and Celine (Julie Delpy) met on a train in Before Sunrise, they were young and idealistic, their entire adult lives still laying before them. When they reconnected nine years later in Before Sunrise, they had both changed; their time apart left them both a bit more cynical, but still just as emotionally and intellectually connected. Now, after another nine years, we finally get to see the next stage of their relationship's evolution. 

The film begins deceptively, offering the same gorgeous, breezy conversations that filled the previous two films and made audiences fall in love with these characters. At first, we are allowed to think that perhaps these characters are truly enjoying the perfect relationship that their fairy-tale meeting in Before Sunrise suggested they would.

Soon, however, dark undercurrents begin to pervade the fun patter, and it becomes clear just how much these characters have changed since we last saw them. Death and decay (of society, of their relationship) come up frequently, and Jesse bemoans the time he continues to miss with his son as he grows up on the other side of the world with Jesse's ex-wife. The laughs still come, but it is clear that trouble is brewing.

As they prepare to leave a famous writer's idyllic home in Greece after a six-week stay, the film affords us the rare opportunity for Jesse and Celine to interact with other characters. This leads to a wonderful scene set around a dinner table, where the group's various couples all offer their unique takes on romance, and the role of love in the modern world. This long conversation is the centerpiece of the film, and the beauty of its construction is breathtaking.

To spoil what follows would be to deprive the viewer of this film's many joys, but it is enough to say that many more conversations are to follow, and the realism and rawness that Delpy and Hawke afford their roles as they frankly discuss their relationship is something to behold. The script, which continues the collaboration between Linklater and his stars, offers a realism that pulls no punches and gives no easy answers.

This is a world where relationships are work, dreams do not always come true, and change is not always positive. It would perhaps be uncomfortable to be privy to such dark, intimate moments were we not already so deeply connected to these characters. We understand their concerns and the complications of their relationship, and yet we root for them anyway.

Linklater's style throughout this series shows that he understands the quality of his dialogue; once again, the camera does not intrude within these scenes. Long, uninterrupted takes are still the norm, and they are still just as impressive. The economy of editing and the minimizing of any directorial flair allows Celine and Jesse to shine; the immersive powers of these films are truly second-to-none.

Before Midnight is a film to be enjoyed and savored. Previous knowledge of the series is not necessary for one to enjoy it, but will obviously enrich the experience. Through the good times and the bad, there is still no more enjoyable pair of characters than Jesse and Celine, and I hope this team will return nine years from now to wow us all again.

REVIEW: Mud

*** 1/2 out of ****

The coming-of-age story is among the most popular genres in contemporary fiction, and its appeal is easy to understand. The experience of growing up is a universal one, as is the loss of innocence that occurs when we are slowly introduced to the difficulties of the adult world. Mud, directed by Jeff Nichols, is a film that compellingly faces these difficulties, plunging its young protagonists into a world of crime, deceit, and sacrifice.

Ellis (Tye Sheridan) is a boy who lives with his family along a river in the Deep South. While exploring a boat that was perched in a tree by receding floodwaters, Ellis and his friend Neckbone (Jacob Lofland) discover a dirty, sundrenched man named Mud (Matthew McConaughey) drifting along the shore of the small island. The boys quickly grow intrigued by Mud, who is living isolated on the island while being sought by police, and are soon drawn into his plan to repair the treed boat and escape with his lifelong love Juniper (Reese Witherspoon).

The bond that forms between Ellis and Mud forms the heart of the film. While Mud seeks his help initially out of sheer desperation, the two soon become friends and confidants. Ellis’ experiences with Mud lead him into trouble with his family and the law, but they also give him the courage to fight for a girl and provide insight into his parents’ failing marriage. Sheridan does a wonderful job of communicating his characters' exuberance and inner struggle.

Seeing Matthew McConaughey’s return to critical favor over the past few years has been nothing if not a surprise. While he appeared in several well-appreciated films at the beginning of his career, including Dazed and Confused and Steven Spielberg’s Amistad, he spent much of the early 2000s mired in romantic-comedy dreck. Over the past couple years, however, he has evidently grown more selective in his roles, and his efforts pay off here. Though the character of Mud is enigmatic by nature, McConaughey mesmerizingly suggests the hidden layers Mud has gained through a life of hardship. Ellis is the film’s protagonist, but Mud without question earns his title role.

Mud loses a bit of steam as it moves through its second act, when Ellis and Neckbone’s Twain-inspired river adventures transition into the exploration of Mud’s complicated romance with Juniper and Ellis’ troubled home life. While the story never loses its rich atmosphere during this time, the various moving parts added throughout the story do cause it to occasionally lose focus. Mud ably makes up for any of this narrative slack, however, with an exciting and artistically-satisfying conclusion.

Jeff Nichols first came to my attention with the 2011 film Take Shelter. While that film’s undercooked narrative left me a bit cold at the time, it showed that Nichols was a promising director, and that promise can be seen again here. Mud showcases Nichols’ ability to weave personal, emotional storytelling into a story that could very easily have been overwhelmed by the action which surrounds it. I left Mud thinking that this director is definitely capable of greatness.

Why I Love Film

My obsession with movies existed long before I was entirely conscious of it. Virtually everyone on Earth enjoys a good movie, so I didn't see anything special in obsessing in fourth grade over the Spider-Man DVD release date, or going to see Casino Royale five times in the theater, or listening to DVD commentary tracks of virtually every film I owned.

Still, for most of my childhood I only saw movies through the prism of entertainment; I was exposed to few classics during that time, and would typically roll my eyes and leave the room if I found my mom watching an old black-and-white film on TCM. My obsession was only with individual films, not with the art form as a whole. This lack of knowledge led to a few misfires in my chosen films to obsess over; I shudder to think of the hours my 10-year-old self devoted to a used DVD copy of Dumb and Dumberer.

There came a point in 2008, however, when the door in my mind finally burst open and I realized just how much I loved the artistic possibility of film. The foot that kicked in that door was Christopher Nolan's The Dark Knight.

Looking back, The Dark Knight was really a perfect vehicle for this sort of realization:

• It was a film that both critics and audiences loved. 
• It was proudly mainstream (and thus accessible), but made with such virtuosic skill that one could enjoy it on multiple levels. 
• Perhaps even more importantly, The Dark Knight is a gigantic film, crammed with enormous set-pieces and towering performances (okay, maybe just one); its lack of subtlety made it extremely easy for a young, budding film nerd to appreciate.

I was extremely excited to see it, having loved Batman Begins, and seeing the rave reviews it received pre-release ensured that I would be in line on opening night.


And WOW did that first viewing meet my expectations. I was in awe of this movie from its first frame to its last. Christopher Nolan had found a way to mix the kick-ass action inherent in the superhero genre with the complex-ish story of a genuine crime drama; the result was enough to blow my adolescent mind.

I made a post afterward on Roosterteeth, an online community I was part of at the time, that I think pretty succinctly summed up my reaction:

Perfection.

I'm very hesitant to use this word in reference to any film. But I can't, for the life of me, think of one single flaw in The Dark Knight's entire 2 1/2 hour running time.

I'm not saying it's the greatest film ever made, but Christopher Nolan has created an absolutely flawless superhero epic.
I honestly hope there isn't a sequel to this film. No one will ever surpass Ledger as the Joker, and I wouldn't want to see them try. I just don't see any possible way they can top this. I have to admit, though, that if any team could do it it's these guys.

I'm blown away right now. I'll probably see it again tomorrow.

Ultimately, my enthusiasm cooled a bit upon further study of the film. I found the writing too on-the-nose at times, and the silliness inherent in comic book adaptations (i.e. Two Face, over-the-top mobsters, etc.) never quite gels with the more serious and dire action occurring in the Joker/Batman storylines. By the time I had decided all this, however, it was too late; I was hooked.

I slowly became more and more immersed in film news and criticism, following new and upcoming releases as closely as I could. I made my first trips to the one theater in Knoxville that showed small independent films and other art-house fare, and found myself blown away by these films that I had never even considered seeking out before.

I'm not quite sure why I fell in love with movies in the way that I did. As I've learned more about the art-form, I think my fascination with film may come from the way in which it integrates all other art-forms.

Film can be anything and everything, combining writing, photography, production design, performances, and music in an infinite number of ways to impart any sort of meaning imaginable. The artistic possibilities are enough to make an aspiring film buff's head spin.

Worth noting is the amazing quality of films that came out in 2008. Aside from mainstream giants like The Dark Knight, Iron Man, and WALL-E, the Oscar race was packed with films like Slumdog Millionaire, Milk, and The Curious Case of Benjamin Button, Doubt, The Class, and many more. I count myself lucky to have had these amazing films available in theaters during my initial exploration of non-mainstream films.

I remember a specific moment, after leaving a showing of Doubt with my mother, that something clicked in my mind. The film had completely enthralled me with its masterful performances and even its cleverly ambiguous conclusion; I had never felt that sort of artistic fulfillment from any movie before. As my mother drove away from the theater, I turned to her and said, "I think that's what I want to do." From then on, I wanted to be a filmmaker.

This goal kicked my obsession into a higher gear; I knew that if I was ever to realize my dream, I would have to know everything there is to know about the craft of movie-making. I took up photography, finding through high school art classes a love for the still camera that I still cherish today. I explored the art of screenwriting, learning the basics of how a script is styled and organized. And all the while, I continued watching and reading about film history.

That education is ongoing. While my college doesn't offer a formal film studies degree, I have tried to create a curriculum that would immerse in both the technical and creative aspects of film production. Thanks to a few great professors, I have been able to take extremely helpful courses on film and screenwriting that have broadened my understanding of these subjects immeasurably. I'm more sure now than ever that this is where my future lies.

As far as actual filmmaking experience, however, I still have pathetically little to show for it. Outside of a few class projects in high school, I have done very little to exercise my creative muscle. Still, I have never felt more capable or full of ideas; I know that there exists within me the potential to create something worthwhile. It's still up to me, however, to realize that potential.

I still go to the theater whenever I can to see new releases; I work at the biggest movie theater in Knoxville, so it has never been easier to see what I want, when I want. I still obsessively read reviews for new films, and am slowly working my way through an immense and intimidating Netflix Instant queue. There's no question that film remains my greatest hobby. As my knowledge and love continues to grow, I only hope that I'll be able to one day turn this hobby into something more.

About Me

Me. Take it or leave it. (Please don't leave it.)

Before getting to the actual blog, I thought I should post a little information about myself in order to better explain who I am and why I'm doing this. Reading is optional, as it only tangentially relates to the reason I created this thing in the first place.

My name is Alex Goldberger. I was born and raised in Louisville, TN, just outside Knoxville; it was okay. I'm currently a student at the University of Tennessee, Knoxville, because I was not accepted to Vanderbilt*. In the absence of a fully-formed film studies curriculum, I have tried to construct one as best I can with a double major in Journalism and Electronic Media (emphasis on the second part) and English, with a minor in Cinema Studies.

My career aspirations are still rather hazy; I know that I want to work as a writer, but whether that means being a journalist, novelist, or screenwriter, I'm still not sure (not that any of them are particularly realistic professions in terms of financial security). I would love to work in the film industry, but I don't have enough experience with film-making at this point to say whether it's truly what I want.

In terms of qualifications for doing this sort of blog, I'm afraid I don't have many concrete accomplishments to offer. I took part in a film studies course at Duke University a few years ago as part of the Duke TIP program, and I've taken a couple of film classes so far in college (Intro to Film Studies and Writing the Screenplay, if you must know).

Throughout the years, however, I've done a lot of reading and viewing on my own with the intent to learn more about film as an art form. There are still huge gaps in my knowledge, to be sure, but I feel comfortable in saying that I know a good deal more than the average film-goer about film history and film theory.

My main source for film news (other than Twitter) is /Film, though I've grown more and more frustrated with that site in recent years (more on that in a future post). My favorite critics are perhaps rather conventional choices, but for me they are unparalleled in their consistency: Roger Ebert and James Berardinelli. I'm also fond of The A.V. Club for their occasional pieces on the film industry.

One of the most useful things for an aspiring film buff is a list or database that purports to list the greatest films of all time. Two sources that I found greatly helpful during my early film education are the American Film Institute's various 100 Years... lists and Roger Ebert's Great Movies series.

Even better than one person or organization's list, however, is a list that compiles and averages all other lists into a kind of super-list of the world's most acclaimed films. Such a list exists at They Shoot Pictures, Don't They?, and I can think of few better resources for those wishing to dive head-first into the depths of film history.

Finally, I guess I'll conclude this post with a list of my own: my favorite movies. This likely deserves its own post, so I'll just list the names for now and leave explaining my choices for later.

While I would never claim that these are the greatest films of all time (as I haven't seen every single film ever made, nor do I think I ever will), these are what I consider to be the best I've ever seen.

Enjoy my 20 favorite movies! (Ranked in order):

1.  Rear Window (1954)
2. Casablanca (1942)
3. Goodfellas (1990)
4. 2001: A Space Odyssey (1967)
5. The Godfather Part II (1974)
6. Ikiru (1952)
7. Amadeus (1984)
8. Chinatown (1974)
9. Taxi Driver (1976)
10. The Third Man (1949)
11. Finding Nemo (2003)
12. A Serious Man (2009)
13. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
14. Network (1976)
15. Annie Hall (1977)
16. Notorious (1946)
17. It Happened One Night (1934)
18. The Social Network (2010)
19. Barton Fink (1991)
20. Lost In Translation (2003)

See you next time, everyone!


*Just kidding, any university officials who might read this!

Here goes!

I feel a bit uneasy starting a blog about film, for a few reasons:

1. I am by no means an expert on the subject, though I'm very passionate about it.
2. There are already many great film reviewers and film blogs and film news sites out there, and I fear my opinions, in the end, cannot hold a candle to them.
3. My skills as a writer are still in their infancy, as far as I am concerned, so I worry if I will even be able to eloquently express my views.

Still, I am starting this blog with the hope that regular writing on the subject will encourage me to continually foster my knowledge of film, and through practice to hone my skills as a reviewer and essayist.

I don't expect many people to read this until the above hopes are realized and the blog becomes worth reading to anyone who doesn't already know me, but this is likely a good thing, as it will free me to toil in  comforting anonymity until I am good enough to deserve better. If and when that happens... we'll see.

For now, the best audience for this blog is likely those people who are in a similar position to myself. Anyone who has, for whatever reason, been drawn to film as an art form, and is looking for a kindred spirit with which to discuss and learn about it, could likely find something useful here. As I said before, I am passionate about film, but I am still learning.

I don't consider my views to be infallible, and expect them to sometimes be flat out wrong. As with any worthwhile film critic, however, I hope to accurately express my point of view at whatever cost. It isn't important for everyone to agree with me, but they should at least know why I feel the way I do about a film (or director, or genre, etc.).

With all that said, I'm excited to start this blog, and hope that someone, anyone will enjoy reading it as much as I will enjoy writing it. Enjoy!