It’s no easy feat to review one of Richard Linklater’s Before films – including Before Sunrise, Before Sunset, and Sundance premiere Before Midnight – because to attempt to chronicle and summarize films that primarily feature two characters walking and talking would likely prove boring and definitely end up reducing the experience of watching one of the Ethan Hawke- and Julie Delpy-starring films. Here it is straight – do you love Before Sunrise and Before Sunset? You will love Before Midnight. Do you just like the previous two films? You’ll probably still love Before Midnight. Do you hate the film’s predecessors? Well, perhaps you’re best advised to stay away from this one. Have you never even seen one of the Before films? Well, you’ll probably do pretty okay with Before Midnight, thanks to its impressively well-crafted flow, its increasingly more relatable characters, and its less-starry-eyed but much more satisfying approach to what it means to actually love someone. Nine years have passed since we last left Celine (Delpy) and Jesse (Hawke) in Paris on the tail end of their nearly-a-decade-in-the-making reunion, and Linklater’s film only strings us along for a matter of minutes before answering – quite conclusively – what happened immediately after we left the pair in the past and what is happening between them in the present. In the least spoiler-ish terms possible, at some point Before Midnight puts Celine and Jesse back doing what they do best – walking and talking, this time in Southern Greece.

Richard Linklater has been tight-lipped about the possibility of there being a third installment in his Julie Delpy-and-Ethan Hawke-walking-around-a-city-and-talking series of films that so far include 1995’s Before Sunrise and 2004’s Before Sunset. But, unfortunately for him, one of his stars and collaborators can’t stop spilling the beans everywhere he goes, that star being Ethan Hawke. The last time Hawke was talking about the potential project, he remarked, “I don’t know what we’re going to do but I know the three of us have been talking a lot in the last six months. All three of us have been having similar feelings that we’re ready to revisit those characters. There’s nine years between the first two movies and, if we made the film next summer, it would be nine years again, so we’ve really started thinking that would be a good thing to do. We’re going to try write it this year.” Well, it seems like the writing went well, because in an interview with IndieWire that was supposed to be about his upcoming project The Woman in the Fifth, talk turned to the new Before Whatever project again, and Hawke confirmed that the third film was indeed on its way. Of his future collaborations with Linklater (which also include a still-untitled series of short films) Hawke said, “we’re also doing a follow-up to Before Sunrise and Before Sunset, so that will be fun. We’re going to shoot that this summer.”

A lot of people still fondly remember Before Sunrise, the romance Richard Linklater released in 1995 about a couple of young people (played by Ethan Hawke and Julie Delpy) who meet on a train, spend a day together in Vienna, and then part ways, perhaps never to see each other again. It’s a quiet little movie about love and relationships, a character piece that focuses pretty solely on maintaining a dialogue and travelogue-esque location spotlighting. But it worked, and the ambiguity of the ending, where you never knew if these two kids with this immediate connection would ever really see each other again, was pretty sublime. So there was a lot of apprehension when it was announced that a sequel, Before Sunset, would be released in 2004, at least on my part. This one was about the same two characters reuniting nine years later, and this time spending a day together in Paris. Surely this sequel would ruin the perfection of the first film and all of that delicious ambiguity that it left you with, wouldn’t it? Turns out, not really. Before Sunset showed us how Hawke and Delpy’s characters had aged and matured in interesting, but authentic ways, it completely recaptured the magic of the first film, and it diminished the original in no way. That’s no small feat, but surely a third film would be the charm when it came to ruining what those first two offered up, wouldn’t it? Could Hawke and Delpy walking around a city

Solid relationships are built on compromise. Meaning, when your boyfriend or girlfriend tells you they want to go see Something Borrowed or Thor this weekend and your gut reaction is “I’d rather have an eagle bite out my liver every day for an eternity than see that movie,” well, you have to suck it up. Not just because you’re trying to keep the two of you together, but because the movie may actually turn out to be your cup of tea. Open minds, people. I’ve been the “movie buff” in many a relationship, but this weekend’s line-up reminded me of the many discoveries I’ve made thanks to the differing opinions and interests of past significant others. For every sappy mother/daughter road trip drama (Anywhere But Here), fairy tale relationship come true (The Prince and Me), or by-the-books rom-com with a song for a title (Sweet Home Alabama), my girlfriends took me to a movie that — gasp — continues to resonate in my memory, challenge the way I watch films and remind me that I should get over myself once in awhile. Pretty impressive. I hope one of them felt that way when I sat them down to watch Jet Li’s The One. As a reminder to myself and to all that we don’t ever really know what we’re going to enjoy the heck out of, here are eight movies I would probably never have seen on my own volition. And then I turn the table on you: what movie

Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as ghostfacekillah and olddirrtybastard5 in order to discuss some topical topic of interest. This week, it’s the horrifying growth of the trend in Hollywood to take old movies and make sequels for them. The fans are too hip to reboots and remakes, but if they can convince an aging actor to retread barren ground, then it’s all aboard the money train. Of course, that’s not always the case, but how else do you explain Indiana Jones 4? The problem is that these movies either suck or are hollow shells of what a franchise once was. So if you’re making a decades-later sequel, what are the problems and how do you avoid them?