Here's something you might be interested in.
Ask a Hipster — Advice you didn't know you needed
Big Screen — Movie commentary
Blurt — Music's inside track
Booze News — San Diego spirits
Classical Music — Immortal beauty
Classifieds — Free and easy
Cover Stories — Front-page features
Drinks All Around — Bartenders' drink recipes
Excerpts — Literary and spiritual excerpts
Feast! — Food & drink reviews
Feature Stories — Local news & stories
Fishing Report — What’s getting hooked from ship and shore
From the Archives — Spotlight on the past
Golden Dreams — Talk of the town
The Gonzo Report — Making the musical scene, or at least reporting from it
Letters — Our inbox
Movies@Home — Local movie buffs share favorites
Movie Reviews — Our critics' picks and pans
Musician Interviews — Up close with local artists
Neighborhood News from Stringers — Hyperlocal news
News Ticker — News & politics
Obermeyer — San Diego politics illustrated
Outdoors — Weekly changes in flora and fauna
Overheard in San Diego — Eavesdropping illustrated
Poetry — The old and the new
Reader Travel — Travel section built by travelers
Reading — The hunt for intellectuals
Roam-O-Rama — SoCal's best hiking/biking trails
San Diego Beer — Inside San Diego suds
SD on the QT — Almost factual news
Sheep and Goats — Places of worship
Special Issues — The best of
Street Style — San Diego streets have style
Surf Diego — Real stories from those braving the waves
Theater — On stage in San Diego this week
Tin Fork — Silver spoon alternative
Under the Radar — Matt Potter's undercover work
Unforgettable — Long-ago San Diego
Unreal Estate — San Diego's priciest pads
Your Week — Daily event picks
Before Midnight: For starters, you’re crazy
Modern Greek drama
"We never talk."
As Before Midnight draws near to its titular hour, Jesse (Ethan Hawke) gets a mid-argument chance to make a list of his beloved Celine’s (July Delpy) flaws. “Well, for starters, you’re fucking crazy,” he begins — and gets no further. But sometimes, a one-item list is enough. It’s Celine’s insanity — or at least, her panic over losing herself to the roles of supportive lover and loving mother — that prevents this third installment of Richard Linklater’s relationship gabfest from becoming a sharply observed and scenic portrait of midlife. Aging and raging, she’s the motor that makes this a movie.
Movie
Before Midnight ***
Late in the proceedings of this, the third installment of Richard Linklater's relationship gabfest, Jesse (Ethan Hawke) gets a mid-argument chance to make a list of his beloved Celine’s (July Delpy) flaws. “Well, for starters, you’re fucking crazy,” he begins — and gets no further. But sometimes, a one-item list is enough. It’s Celine’s insanity — or at least, her panic over losing herself to the roles of supportive lover and loving mother — that prevents <em>Before Midnight</em> from becoming a detailed, scenic, static portrait of midlife. Aging and raging, she’s the motor that makes this a movie. It’s been nine years since last we saw the couple; now, they're finishing a summer vacation in Greece. Jesse has just sent his son back to his ex-wife in the States, and he (understandably) wants to be closer to the boy. But Celine has just been offered a job in France. Cue the verbal fireworks.
It’s been nine years since last we saw the couple, and we catch up with them at the end of a summer spent vacationing in Greece. Jesse has just sent his son back to his ex-wife in the States, and he can’t help but feel like things would be better if he was closer to the boy. But Celine has just been offered a job in France and views a move to America as undermining her very sense of self. But, of course, that doesn’t come out right away — instead, it manifests as a slowly spreading sourness that first colors a discussion of love over dinner with friends, then a long walk to a hotel for a night away from their twin daughters, and finally, their attempt at a hotel-room canoodle. Thanks to the smart writing, the conversation is never less than engaging, and Greece is embarrassingly lovely. But again — it’s Delpy’s terror at the notion that “women explore for eternity in the garden of sacrifice” that brings the drama.
Here's something you might be interested in.
Before Midnight: For starters, you’re crazy
Modern Greek drama
Before Midnight: For starters, you’re crazy
Modern Greek drama
"We never talk."
As Before Midnight draws near to its titular hour, Jesse (Ethan Hawke) gets a mid-argument chance to make a list of his beloved Celine’s (July Delpy) flaws. “Well, for starters, you’re fucking crazy,” he begins — and gets no further. But sometimes, a one-item list is enough. It’s Celine’s insanity — or at least, her panic over losing herself to the roles of supportive lover and loving mother — that prevents this third installment of Richard Linklater’s relationship gabfest from becoming a sharply observed and scenic portrait of midlife. Aging and raging, she’s the motor that makes this a movie.
Movie
Before Midnight ***
Late in the proceedings of this, the third installment of Richard Linklater's relationship gabfest, Jesse (Ethan Hawke) gets a mid-argument chance to make a list of his beloved Celine’s (July Delpy) flaws. “Well, for starters, you’re fucking crazy,” he begins — and gets no further. But sometimes, a one-item list is enough. It’s Celine’s insanity — or at least, her panic over losing herself to the roles of supportive lover and loving mother — that prevents <em>Before Midnight</em> from becoming a detailed, scenic, static portrait of midlife. Aging and raging, she’s the motor that makes this a movie. It’s been nine years since last we saw the couple; now, they're finishing a summer vacation in Greece. Jesse has just sent his son back to his ex-wife in the States, and he (understandably) wants to be closer to the boy. But Celine has just been offered a job in France. Cue the verbal fireworks.
It’s been nine years since last we saw the couple, and we catch up with them at the end of a summer spent vacationing in Greece. Jesse has just sent his son back to his ex-wife in the States, and he can’t help but feel like things would be better if he was closer to the boy. But Celine has just been offered a job in France and views a move to America as undermining her very sense of self. But, of course, that doesn’t come out right away — instead, it manifests as a slowly spreading sourness that first colors a discussion of love over dinner with friends, then a long walk to a hotel for a night away from their twin daughters, and finally, their attempt at a hotel-room canoodle. Thanks to the smart writing, the conversation is never less than engaging, and Greece is embarrassingly lovely. But again — it’s Delpy’s terror at the notion that “women explore for eternity in the garden of sacrifice” that brings the drama.
Comments