Before Midnight (2013)

2018 #205
Richard Linklater | 109 mins | Blu-ray | 1.85:1 | USA & Greece / English | 15 / R

Before Midnight

The third film in co-writer/director Richard Linklater’s Before trilogy catches up with couple Celine (Julie Delpy, also a co-writer) and Jesse (Ethan Hawke, the third co-writer) in middle age, after years of being together, with two kids (plus his kid from a previous relationship) and a host of problems bubbling under the surface.

Linklater got a lot of attention for shooting coming-of-age drama Boyhood in real-time over 12 years, but for my money he’s used a similar technique to much better effect in this trilogy. It’s a different way of handling it, of course: Boyhood was filmed across all 12 of those years, following the characters closely as they grow and change; whereas the Before films drop us in for a crucial few hours once every nine years, thereby offering a more concentrated experience of time on screen, but covering so much more in what’s discussed and implied about the time in between our visits.

The first two films — 1995’s Before Sunrise and 2004’s Before Sunset — are marked by an unreserved romanticism. Midnight is notably different, abandoning that lovey-dovey-ness and replacing it with a powerful examination of the tension in a long-term relationship. In some respects, it’s all the better for it. That’s in no way a criticism of the previous films (I still think Sunrise is first among equals), but it’s realistic that, as time goes on, people change. They can’t be young-spirited and full of the joys of first love forever. Well, they could, but it wouldn’t be life and relationships as most of us know it.

Jesse and Celine

Their interpersonal turmoil is all the more affecting because we’ve connected with these characters on and off in real-time for a couple of decades. Consequently, I can’t remember the last time I went on such an emotional rollercoaster. It’s not just realistic, but brave, to choose to swing the film in such a quarrelsome direction, rather than just show them rekindle old passions (again). It leads to an entirely different effect: the first two leave you feeling warm and fuzzy; this is more like being punched in the gut. And yet I wouldn’t have it any other way. Rather than feeling out of place when put next to its forebears, Midnight feels like a necessary addition.

My original reviews of Sunrise and Sunset from 2007 (linked earlier) are both marked as 4 out of 5, but I don’t stand by that. I watched them again before Midnight and would unequivocally give them each 5 stars. I wouldn’t want anyone to read all three reviews and think I’m rating Midnight as better than its predecessors. As a trilogy, they’re all almost equally good. I say “almost” because the hard-hitting emotional realism of this one is kinda depressing, while the unabashed romanticism of the first two is lovely. Maybe how you are as a person dictates which of those ends of the spectrum you prefer, because the dramatic shift in tone does not presage a shift in quality. Put another way, on a qualitative level I think they’re all 5s, but I love the first two that bit more because they’re nicer… but perhaps less real. Either way, together they are one of the greatest trilogies ever made.

I really hope they do a fourth one, though. Maybe it’s just because I want to spend more time with these characters, but I also feel a little that the series might need balance. As I’ve said, the first two are so of a piece, the third isn’t, so perhaps there’s room for one more ‘act’ to even that up. Or, hey, why not just make another one every nine years until the inevitable? (Now I’m just getting greedy.) Ethan Hawke has observed that Sunrise begins with Celine and Jesse watching a couple in their 40s arguing and Midnight is about Celine and Jesse as a couple in their 40s arguing, so maybe it’s an apt place to stop. But he also says that all it takes is for one of them to have an idea that excites the other two and they’d do it again, so perhaps we can look forward to Before Midday in 2022 after all.

5 out of 5

Before Midnight placed 2nd on my list of The 26 Best Films I Saw in 2018.

The Best & Worst of 2018

Later than planned, here it is: my picks of the best (and worst) films I saw in 2018! Plus, as usual, a list of some major titles I missed, thus explaining why they’re not on my top list (i.e. because I haven’t seen them).

I’d hoped to have this up by Sunday morning, but life increasingly got in the way, not helped by it being a more mammoth task than usual. You’d think picking a top 26 would be easier than picking a top 10 (there are more slots!), but you end up with the same dilemmas, just further down the scale. And, of course, a longer list means there are more films to sort into order — I mean, how do you decide which is ‘better’ between a dystopian sci-fi parable, an excoriating relationship drama, and a groundbreaking action movie when you love them all? And that’s just one example…

Anyway, this is what I ended up with. And just a final reminder before we get going: these films are selected from all 261 movies I saw for the first time in 2018, not just new releases.



The Five Worst Films I Saw For the First Time in 2018

This year I watched some films so bad that The Snowman hasn’t made the cut. Perhaps The Snowman is worse than some of these films, and certainly everyone involved in it should’ve done better; but it seems something went wrong during its production (15% of the screenplay wasn’t even shot!), so I feel like those involved can’t be wholly to blame. However, the following five films are (to the best of my knowledge) just bad. So, in alphabetical order…

The Cloverfield Paradox
The third film in J.J. Abrams’ sci-fi anthology series was dumped on Netflix at short notice, presumably in the hope people would watch it before hearing how terrible it was. Its sci-fi concepts are internally inconsistent, while the Cloverfield connections were clearly retrofitted with reshoots. [Full review.]

Geostorm
Talking of nonsensical sci-fi, this is even worse — not only is the science stuff implausibly done, it can’t create plausible character logic either. Big dumb popcorn fun shouldn’t be this dumb, because it stops it being fun. [Full review.]

Lost in Space
I avoided this movie for two decades because I heard how bad it was, but then caved when the Netflix reboot came along. Sadly, its reputation is fully deserved — it’s bad in every way you’d care to consider. Even Gary Oldman’s no good in it. And, 20 years on, it also looks incredibly dated. [Full review.]

Phantasm
This is a cult favourite with some people (known as “Phans”, I believe), but I thought it was awful. None of it makes any sense, from the mythology to the way characters behave, and it’s not very well made, either. [Full review.]


Skyline
Another sci-fi movie! I clearly made some poor genre viewing choices in 2018. Anyway, even his is Cloverfield meets Independence Day filtered through the minds of the directorial brothers behind Aliens vs Predator: Requiem, and is every inch as terrible as that sounds. [Full review.]



The 26 Best Films I Saw For the First Time in 2018

Rather than end the year with a good ol’ top ten, since 2016 I’ve been doing a “top 10%”. This year’s record-obliterating tally was 261, so it’s my biggest top “ten” ever too, with 26 films. Think that’s too many? Feel free to scroll down and start wherever you like.

As I said at the start, all the movies I watched for the first time in 2018 are eligible for this ranking, not just new releases. However, I did watch 50 films that made their UK debut in 2018, and nine of them made it into my top 10%, so I’ve noted their ‘2018 rank’ too.

This French steampunk adventure features gorgeous animation to render a creative alternate history. A sharp turn into pulp sci-fi almost lost me, but it’s too wildly imaginative not to enjoy. [Full review.]

Probably the most iconic Bollywood movie of all time, Sholay’s 3½-hour running time has something for everyone: it’s an action adventure comedy romance musical thriller! [Full review.]

This German Cold War tale is tense and thrilling like a spy movie, but emotionally and politically loaded like an art house drama. [Full review.]

2018 #9 The year’s best fourth-wall-breaking superhero comedy. It’s a kid-friendly cartoon, but there are plenty of jokes aimed at adult superhero fans too. [Full review.]

A rounded portrait of life and combat beneath the waves, with one of the most effective surround sound mixes I’ve ever heard. [Full review.]

A newsroom satire so insightful and timelessly pertinent, you could remake it virtually word-for-word set today. [Full review.]

The blind masseur-cum-swordsman turns babysitter in this atypical but excellent instalment of the long-running series. [Full review.]

Rocky returns to train his dead friend’s son in this spin-off that honours the series’ legacy to emotive effect. [Full review.]

The kind of movie that makes me nostalgic for a time I never experienced (and, to be honest, wouldn’t necessarily actually enjoy). [Full review.]

Our felty friends take to the high seas for one of their best movies, packed with swashing buckles and superb musical numbers. [Full review.]

Dario Argento’s seminal shocker was remade this year, which led me to finally see the original. It’s a masterpiece of uneasy atmosphere, with striking colours and music. [Full review.]

2018 #8 Hilariously funny, with some of the best line deliveries of the year (or ever), and cleverer than it has any right to be, this is so good it makes up for the bait-and-switch of the cute dog being prominent on the poster but not in the film. [Full review.]

2018 #7 Fantastic performances colour in all the shades of grey for some complicated characters in this dark (but, at times, surprisingly funny) drama. [Full review.]

Once eyed by Tarantino for a remake, this instalment sees Ichi attempting to atone for all his killing… only to get drawn into protecting a village from a vicious gang boss. [Full review.]

2018 #6 The Marvel formula, now available in black. But there’s more than that to this film, which plays like an Afrofuturist Bond movie. [Full review.]

A gang must fight their way home across a city out to get them in Walter Hill’s actioner, which is thrilling thanks to an almost-mythological simplicity and directness. [Full review.]

2018 #5 Netflix attracted a lot of attention by suddenly announcing and releasing this “choose your own adventure” movie at the end of December. Unlike when they pulled that stunt in February (see my worst movies list, above), Bandersnatch merited the hype. It could’ve been a gimmick, but, in the hands of Charlie Brooker and the Black Mirror team, content mirrors form, and we’re treated to a paranoid sci-fi story that couldn’t’ve been told as well any other way. [Full review.]

2018 #4 Spider-Men other than Peter Parker have been a fixture of comic books for yonks now, but here they make it to the big screen, accompanied by a powerful message about who can be a hero. Realised with startlingly inventive animation, it’s destined to be a genre classic. [Full review.]

Stanley Kubrick’s Vietnam movie is best known for its bootcamp first half, with the abusive drill instructor played by R. Lee Ermey, who brought his experience of having done the job for real. Nonetheless, I was impressed to find the second half (set in Vietnam itself) was equally affecting. [Full review.]

2018 #3 I’d rather gone off the work of Paul Thomas Anderson in recent years, and a drama about a London fashion house in the ’50s didn’t particularly appeal either… but blow me down with a feather, the combination has produced this work of exquisite beauty. Maybe not “beauty” in the traditional sense, but as a character study of two very particular souls, with more than a touch of Gothic melodrama about its style and story, it’s my kind of beauty. [Full review.]

2018 #2 This year, the superhero movie went full comic book, with both Spider-Verse and this bringing the storytelling style of a team-up event series to the big screen. In the case of Infinity War, it was the (beginning of a) culmination of ten years’ work that has revolutionised the blockbuster movie business. But even leaving that aside, what Marvel produced here is a film with a scope, scale, and narrative style not quite like any other. [Full review.]

The darkness that’s barely concealed beneath the pleasant veneer of American high schools is exposed in this pitch-black comedy, which mixes violent teen wish fulfilment with a certain degree of societal satire to boundary-pushing effect. It’s not as transgressively shocking 30 years on as it might’ve been back in the ’80s, but it’s still so very.

Yes, I only got round to seeing La La Land this year. The Best Picture winner that wasn’t, you can certainly see why everyone thought the tradition-led Academy Awards would pick this as their winner — it is, in part, a love letter to classic Hollywood musicals. But the songs are better than just pastiches, there’s a realism to the storytelling and performances that’s more modern, and the whole film sings with the joy of moviemakers dedicated to producing something beautiful. [Full review.]

If La La Land is about beauty, Snowpiercer is about human ugliness. Its setup may stretch credulity (following an apocalyptic event, the remnants of humanity all live on one long train that constantly circles the globe), but just go with it and you’re treated to an insightful commentary/allegory about class divides and interdependence, wrapped up in a pulse-pounding action thriller with the relentless forward motion of… well, you know what. [Full review.]

The third film in Richard Linklater’s Before trilogy catches up with Celine and Jesse in middle age, after years of togetherness, with two kids (plus his kid from a previous relationship) and a host of problems bubbling under the surface. Midnight is notably different from the lovey-dovey-ness of Sunrise and Sunset, but it’s a powerful examination of the tension in a long-term relationship, and all the more so because we’ve connected with these characters on and off in real-time. The first two leave you feeling warm and fuzzy; this is more like being punched in the gut. And yet, together, they are one of the greatest trilogies ever made. (I really hope they do a fourth one, though.) [Full review.]

2018 #1 I have the whole history of cinema to choose from, but, once again, a new release tops my top ten. Sometimes, with hindsight, I wonder about my picks for #1; other times, I’m pleased to see I was right many years later, as my top film stands the test of time. I suspect this will be one of the latter, because the lengths to which writer-director Christopher McQuarrie and, especially, star Tom Cruise have gone to show us something we’ve never seen done before, and to entertain us with cleverly conceived and astoundingly executed action sequences, is really above and beyond the call of duty. It’s resulted in one of the best action movies ever made. As the first film I felt compelled to see twice on the big screen for nearly a decade, not to mention that I listened to over six hours of podcast interviews with McQuarrie as he dissected it every which way, there couldn’t really be any other pick for my film of the year. [Full review.]


As ever, there were lots of films I liked a lot that there simple wasn’t room for (my original long list, which I add to throughout the year, had 93 films on it). If I just listed a bunch more films I liked that would be kinda cheating (why not just do a longer list?), but, nonetheless, there are a few I’d like to highlight for specific reasons.

While compiling my top 10%, I hit on two kinds of movie that I felt should be eliminated from consideration but that I still really wanted to mention in some way. In other years, any or all of these films might’ve made the “best” list, but it was a tough year and something had to go! Well, that’s exactly what “honourable mentions” are for, right?

The first are movies that were not traditionally “good”, but I still got a lot of enjoyment out of them; what some people might call “guilty pleasures”, I guess. In particular I’m thinking about Gods of Egypt (my review explains all about that) and the 1975 Zorro, which was an entertainingly chaotic romp. Also Happy Death Day, which I really enjoyed as a tonal throwback to turn-of-the-millennium teen horror movies, and Benji, which is a young kids’ film through and through, but with a loveable doggy star to ‘aww’ over.

The latter crosses over somewhat into the second category: films that were only fairly good overall, but I bloody loved one element of them — so, Benji in Benji, for example. Also: Winnie the Pooh in Christopher Robin, the Live Aid sequence in Bohemian Rhapsody, and all the action sequences in The Villainess. If I did lists like characters or scenes of the year, they’re the kind of the thing that would be right near the top.

Now, let’s recap the 12 films that won Favourite Film of the Month at the Arbies, all of which have already been mentioned in this post, one way or another. In chronological order (with links to the relevant monthly update): La La Land, Black Panther, Happy Death Day, Avengers: Infinity War, The Warriors, Sanjuro, Mission: Impossible – Fallout, Christopher Robin, Heathers, Suspiria, Creed, and Snowpiercer.

Finally, I never end this without mentioning all the films that earned 5-star ratings in the year. There were 39 in total during 2018, including 22 that made it into my top 26. Those were Avengers: Infinity War, Before Midnight, Black Mirror: Bandersnatch, Black Panther, Das Boot: The Director’s Cut, Call Me by Your Name, Creed, Fight, Zatoichi, Fight, Full Metal Jacket, Heathers, La La Land, The Lives of Others, Mission: Impossible – Fallout, Network, Phantom Thread, Sholay, Snowpiercer, Spider-Man: Into the Spider-Verse, Suspiria, Three Billboards Outside Ebbing, Missouri, The Warriors, and Zatoichi’s Pilgrimage. The remaining 17 were The 400 Blows, Big Fish, Compulsion, The Director and the Jedi, The Elephant Man, The Hunt, Laura, Paper Moon, Princess Mononoke, Ran, Sanjuro, Scarface, The Shape of Water, Strangers on a Train, Terminator 2: Judgment Day 3D, They Shall Not Grow Old, and The Treasure of the Sierra Madre. Plus I also gave full marks when I wrote about rewatches of Blade Runner 2049 (in 3D) and Superman: The Movie.


I watched 39 films from 2018 during 2018, which leaves a considerable number of notable releases that I’ve not yet seen. Therefore, as is my tradition, here’s an alphabetical list of 50 films that I’ve not seen which are listed as 2018 on IMDb. That means some of these ‘missed’ films are awards-y movies that aren’t actually out in the UK yet, but that’s the way this goes. (I have included one film that’s listed as 2017, because it only had a handful of festival screenings that year. But there was another that I was going to put here which was actually released in several countries at the end of 2017, so I decided it shouldn’t be allowed. That was, ironically, You Were Never Really Here. Oh how I laughed at the accidental pun. Now you can too, readers.)

As always, the films in this list have been selected for a variety of reasons, from box office success to critical acclaim via simple notoriety. There are many more I want to see that I could have included, but I always make some attempt to include a spread of styles, genres, successes, and failures.

Aquaman
Creed II
First Man
Mary Poppins Returns
Sicario 2: Soldado
Suspiria
BlacKkKlansman
Early Man
Isle of Dogs
The Predator
Skyscraper
Venom
Aquaman
Bad Times at the El Royale
Bird Box
BlacKkKlansman
Bumblebee
Cold War
Crazy Rich Asians
Creed II
Early Man
Eighth Grade
Fantastic Beasts: The Crimes of Grindelwald
The Favourite
First Man
First Reformed
The Girl in the Spider’s Web
Green Book
The Grinch
Halloween
The Happytime Murders
Hereditary
Holmes & Watson
If Beale Street Could Talk
Isle of Dogs
Johnny English Strikes Again
Leave No Trace
Love, Simon
Mamma Mia! Here We Go Again
Mandy
Mary Poppins Returns
The Meg
Ocean’s 8
Pacific Rim: Uprising
Peter Rabbit
The Predator
Ralph Breaks the Internet
Rampage
Roma
Searching
Sicario 2: Soldado
A Simple Favour
Skyscraper
A Star is Born
Suspiria
To All the Boys I’ve Loved Before
Tomb Raider
Upgrade
Venom
Vice
Widows
A Wrinkle in Time


Whew! That’s that over for another year. (Well, aside from the insane number of reviews I still have left to post…)

The “Oh My God, I Can’t Believe It” Monthly Update for September 2018

Oh my god, I can’t believe it —
I’ve never seen this many films before!

For only the second time, 100 Films in a Year has reached 200 films in a year…

…and — for the first time ever — beyond!


#188 Sartana’s Here… Trade Your Pistol for a Coffin (1970), aka C’è Sartana… vendi la pistola e comprati la bara!
#189 Lost in Space (1998)
#190 Skyline (2010)
#191 April and the Extraordinary World (2015), aka Avril et le monde truqué
#192 The Tree of Life (2011)
#193 I Kill Giants (2018)
#194 Compulsion (1959)
#195 The Hunt (2012), aka Jagten
#196 Heathers (1988)
#197 Courage Under Fire (1996)
#198 Gods of Egypt 3D (2016)
#199 Zatoichi’s Vengeance (1966), aka Zatôichi no uta ga kikoeru
#200 Sholay (1975)
#201 Network (1976)
#202 Mary and Max (2009)
#203 Ran (1985)
#204 Step Brothers (2008)
#205 Before Midnight (2013)
#206 Rocky V (1990)
April and the Extraordinary World

Heathers

Before Midnight

.


  • September adds 19 films to 2018’s tally, in the process taking it past the final totals of both 2016 (195) and 2015 (200) to make it my biggest year ever!

*ahem*

So, back in 2015, after I reached my highest ever final total, I felt fairly certain that would never be beaten. It had been a push to get there, and I was determined to spend more time on things besides watching new films. Well, I haven’t done nearly as much other stuff as I’d hoped, but my film tally did drop slightly over the next few years (195 in 2016; 174 in 2017), plus starting my side goal of the Rewatchathon would surely steal numbers from the main tally.

And yet here we are: at the end of September — with a whole 25% of the year left to go — and I’ve already surpassed that 200 total. Oh, and I’ve watched 38 films towards this year’s Rewatchathon, too.

How has this happened? Goodness only knows. Whether the remainder of the year will keep up this pace, which would land me with a final tally in excess of 270 films… well, I don’t know that either. It seems unlikely, given that both August and September have had totals well down on the giddy heights of April and May (my two biggest months of all time). Nonetheless, a total in the 230s is a likely minimum, with 250+ not improbable — both far in excess of what I once thought possible (considering that, in two of this blog’s first six years, I failed to even make 100). What I will predict is that I won’t achieve these kinds of numbers ever again. But then, I said that last time…

Anyway, back to notes about this month in particular:

  • As I said, I watched 19 new films this month, which surpasses the September average (previously 11.6, now 12.3), but falls just short of the rolling average of the last 12 months (previously 20.3, now 21), as well as 2018’s average to date (previously 23.4, now 22.9).
  • Rewinding to the start of the month for a moment, I watched a film on September 2nd, crossing another date off my list of “never seen a film on”s. That just leaves three to complete: January 5th, May 23rd, and December 22nd.
  • This month’s Blindspot film: Danish wrongfully-accused drama The Hunt, a film whose story will surely induce righteous anger in any viewer — which is not a criticism.
  • This month’s WDYMYHS film: Akira Kurosawa’s feudal Japan-set adaptation of King Lear, and his final samurai epic, Ran. It’s testament to Kurosawa’s magnificence that he made a movie this great but I wouldn’t even put it in his top five.
  • One film I didn’t watch this month was The Shape of Water. Having to wait so long for a chance to see it (it disappeared from cinemas near me in a flash, and the UK Blu-ray release came over three months after the US) seems to have accidentally put it on my back burner: it’s been on disc here since the end of June and I’ve still not got round to it. Maybe next month — after all, it is a monster movie.



The 40th Monthly Arbitrary Awards

Favourite Film of the Month
I watched six or seven five-star films this month (one’s still wavering between a four and a five), which makes this a tricky proposition, especially as I really enjoyed some of the four-star ones too. Heck, I had a lot of fun watching Gods of Egypt, and I gave that three stars! It’s not my favourite film of the month, though. I’m going to bestow that honour on Heathers, which I finally got round to seeing thanks to Arrow’s 4K-restored Blu-ray release. Not only does it look fantastic, it’s a great black comedy too.

Least Favourite Film of the Month
Now, here’s a toughie: I watched two of the worst films I’ve seen all year back-to-back at the start of the month. I won’t be surprised if they both make the year-end bottom five. But, of the two, the one I liked least was Lost in Space, because at least Skyline is trying to do something interesting, whereas Lost in Space just squanders its blockbuster budget on being shit.

Best Fight of the Month
Tussles galore between giants, gods, and armies of Japanese warriors this month, but none were so gruelling as Celine and Jesse verbally slugging it out in Before Midnight.

Old Film That’s Still Pertinent Today of the Month
Media satire Network is 42 years old now, but I’m pretty sure you could take its screenplay, change only a couple of minor words, and film it as being set today.

The Audience Award for Most-Viewed New Post of the Month
For the fifth time this year, my monthly TV review was victorious in this category. I usually attribute this to referrals from IMDb, and the biggest contributor for this month’s column appears to have been Bodyguard. (The most-viewed new film review was Jack Reacher: Never Go Back.)



A massive six rewatches this month, both catching up on the shortfall left after last month and surging ahead into next month’s ‘allowance’.

#33 Darkman (1990)
#34 Avengers: Infinity War 3D (2018)
#35 Solo: A Star Wars Story 3D (2018)
#36 Before Sunrise (1995)
#37 Before Sunset (2004)
#38 Kingsman: The Golden Circle (2017)

I feel like someday I need to coalesce into words why I love Darkman — I only wrote a drabble after my first viewing, and I don’t feel like expounding on it right now, but it’s a really good fun pulp sci-fi/horror/superhero noir.

Avengers: Infinity War is a slightly less mind-blowing experience when you know all the twists and developments — it’s one of those films where the first viewing may always be the best thanks to the surprises and reveals having a tangible impact — but it still holds up as a one-of-a-kind epic, full of excitement, humour, and even emotion. I’m miffed they didn’t put the IMAX ratio on Blu-ray (and always will be — I’m still cross with Brad Bird about Ghost Protocol), but at least the 3D was fantastic.

Conversely, I definitely enjoyed Solo more on a second viewing, in part thanks to the better-managed expectations of having already seen it. It’s nowhere near the greatest Star Wars movie, but it’s a solid space adventure with many likeable touches. The 3D isn’t bad, but in terms of Fancy Modern Formats, I suspect Bradford Young’s notoriously dark photography would benefit more from UHD’s high dynamic range.

I’ve been meaning to (re)watch Richard Linklater’s Before trilogy since the third one came out on DVD (no Blu-ray on this side of the pond) five years ago. And I’ve been really meaning to do it since Criterion released them in a lovely Blu-ray box set a little over 18 months ago (that doesn’t sound so bad — I thought it was longer). Well, obviously, I’ve finally done it.

When I first watched the Before films in 2007 (only a duology back then), I was 21. I admired them both, but definitely preferred the first, Before Sunrise. Indeed, I was a little startled to realise I only gave it four stars in my original review. Now, it’s a firm five, and I’d say one of my favourite films of all time (it did place 28th in my 100 Favourites, but it would be higher now). However, consensus often seems to favour the second film, Before Sunset. I’ve always wondered if this is an age thing: when I first watched them, I was close to the age of the characters in the first film, whereas many critics contributing to said consensus would’ve been closer to the characters’ age in the sequel. Well, now I’m 32, and I certainly identified with the sequel a lot more this time than I did back then. I probably still prefer the first, on balance — it now comes loaded with nostalgia for being in your early 20s — but I consider the sequel to be more-or-less its equal.

And what of the third film, Before Midnight? Well, I’ll publish a full review at some point…


It’s October, which means only one thing here at 100 Films: the sheer terror of The Twilight Saga!