Before We Go (2014)
★★ / ★★★★
“Before We Go,” directed by Chris Evans, takes inspiration from Richard Linklater’s “Before Sunrise” in which two people meet and by the end of their limited time together, they realize that perhaps there is something between them worth exploring further. Although the film has an identity of its own, the romantic elements do not come together in such a way that leaves us enraptured and wanting more.
Perhaps it is due to the dialogue. At times Nick (Chris Evans) and Brooke (Alice Eve) share some amusing and touching exchanges, but platitudes are inevitably come up—especially when they offer each other advice. The experience is like listening to really nice song but a split-second or two the player skips and it is just enough to ruin the moment. Credit to Evans and Eve for trying their best to work with a script that occasionally comes across as false. These two have a lot of natural charm—together and apart—and it makes up for moments that ought to have been reshot or eliminated altogether.
Shooting onsite in Manhattan elevates the picture. During its slower moments, it is worth taking a look at the background: the kinds of people out on the streets late at night, how they walk, what they are wearing, the multicolored lights dancing in the city. The urban milieu is quite beautiful because it is taken as is. We could almost smell the stench of the garbage and sewers as the characters walk through rougher neighborhoods.
The characters express plenty of inner turmoil, but it feels like something is missing. Maybe it is because they talk about their past and regrets so often that it does not give enough time for them—and us—to appreciate the present. Part of the reason why this film’s inspiration is so successful as a character study is because Linklater makes a point of focusing on the present. Céline and Jesse do talk about their pasts but we get a strong sense that they are not defined by them. Here, Brooke and Nick are superglued to what has happened (or has not happened) to them that their conversations feel like a pity party at times.
The film, written by Ronald Bass, Jen Smolka, Chris Shafer and Paul Vicknair, offers a few standout scenes. The performance on stage with Nick playing the trumpet and Brooke singing “My Funny Valentine” dares the viewer not to put on a smile. Another highlight involves a psychic (John Cullum) with wisdom to impart. But three or four well-executed scenes are not enough to make the movie a completely romantic experience. The dialogue, the environment, the themes, and the performances must dance together and share the same rhythm.