Blue Moon 2025 Movie Review
Blue Moon, directed by Richard Linklater and written by Robert Kaplow, was among my most anticipated pictures of the year. With dazzling production, gorgeous cinematography, top-notch acting, and an interesting topic, the film had every reason to be an endearing presentation. However, this documentation of its subject, Lorenz Hart, ends up being an embarrassing mix of sharp, thought-provoking conversations and overwhelmingly juvenile dialogue. The constant switch between the two approaches–with no transition, no less–diminishes the film greatly. Blue Moon may remain an interesting, beautifully crafted film about the bitterness of Hart, but it is not nearly as magnificent or as intelligent as its trailer suggests.
In terms of production, Blue Moon boasts a wonderful atmosphere, rich in 1940s period detail and memorably attractive color grading. From the elegant costumes and large, detailed set pieces to the calming music and an unrecognizable Ethan Hawke, the film immediately immerses you within its first five minutes. It also benefits being a slow burn drama that attempts to peel back the layers of Hart’s intense jealousy. The pacing is not fast–contrary to the critic quote on the poster–but it glides at a delightfully consistent speed. It, however, it says surprisingly little despite taking its time. Even so, there is enough substance found in the characters that it never becomes a boring picture.
The highlight of the film by far is the acting. Ethan Hawke, in particular, transforms into his role–it is surprisingly easy to forget it is him. He captures so many nuances with his character that if the film wins one Oscar, it should go to Hawke for Best Performance. Andrew Scott, Margaret Qualley, and Bobby Cannavale are also splendid, keeping pace with Hawke’s indelible performance. Their collective commitment to lighting up the screen, in theory, could have made Blue Moon a most entrancing picture. The drama can be tense, engaging, and reflecting; however, the messy screenplay gets in the way of a favorable impression.
Kaplow’s writing is simultaneously some of the best and worst work I have seen this year. When it has tender, thoughtful, mature conversations, it reminded me why I drove over forty miles to see it. I will be stealing some of its best quotes without shame, if that says anything. It is also occasionally funny, with some remarks causing a chuckle. But, most unfortunately, the spectacular spurts of subtle humor and beautifully human moments are interrupted far too often by some of the most crass, dull-witted lines I have heard in a while. It would fit right into a Deadpool movie, and I say that with no hyperbole. To give examples: a conversation abruptly goes from a classy discussion about Hart’s finely tuned lyrics to crudely comparing a play’s quality to erected genitalia. Another scene has a character shift from the heartfelt reflections of love to describing a male failing to use a condom for five long minutes–an exchange that did not enhance the narrative in any fashion. These are not outliers, either, as Blue Moon’s sloppy screenwriting is frequently doing this pendulum-like behavior. It would not be egregious if perhaps some of the rougher, heavily drunk folks were the nasty speakers and the others were more restrained and established in their dialogue. But, no–the class-to-crass pendulum unpredictably swings for almost every character throughout the 100-minute runtime.
Blue Moon is best described as a lavish meal at a prestigious restaurant. It has all of the exemplary ingredients in order, making it an obviously winning choice. Once ordered though, the server decides to put odd sauce on it. It makes the dish look less appetizing, but it still could be a delightful dinner. Then the server adds more of that sauce. He stops for a moment, then he pours another round of it on an almost unrecognizable meal. This process repeats over and over again, and every time the server stops, you pray it is the last–but it is not, not until your dinner is over. The food is not terrible, but you painfully ponder how wonderful it could have been without that sauce. In other words, Blue Moon does more right than it does wrong, but Kaplow’s errors are loud and unignorable, damning an otherwise inspired production to mediocrity.
