Director Richard Linklater’s films hold a deep personal connection to me. From the Before trilogy’s sense of love and yearning, to the mellow qualities of Dazed & Confused (1993) and Everybody Wants Some!! (2016), they show a serious directorial range. Linklaters’s latest film Blue Moon, dives into a different register. Blue Moon follows Lorenz Hart (Ethan Hawke) on the opening night of his former writing partner Richard Rodgers’s (Andrew Scott) hit play Oklahoma! on March 31st, 1943.
L-R: Andrew Scott as Richard Rodgers and Ethan Hawke as Lorenz Hart in BLUE MOON. Photo Credit: Sabrina Lantos. Photo courtesy of Sony Pictures Classics.
Written by Robert Kaplow (Me and Orsen Welles), Blue Moon feels very much like a stage play. I mention this to say that it will be a serious deterrent to some viewers. Instead of narrative “action,” the film focuses on a talkative angle. Every conversation explains motivations, filling in the audience on the characters’ pasts. If that does not sound interesting, then there’s nothing in this Blue Moon review that will convince you otherwise. As a fan of that sort of story, Blue Moon proved an immense delight to watch. That can be attributed to the three key factors of performance, direction, and editing.
As of this writing, Hawke’s (Dead Poets Society; The Black Phone) performance is the best performance I’ve seen in 2025. Hart, as written, is meant to be the most significant presence in any room he enters. While obviously starting as a lively character, Hawke has a tricky tightrope act to accomplish. With the rapport of the dialogue, he has to balance vulnerability with his more energetic moments. It’s an infectious performance that makes the film’s play-like energy go down with ease. Hawke commands every scene he’s in without ever once overplaying his hand. The success of that performance can be attributed to the longstanding relationship between Hawke and Linklater.
L-R: Margaret Qualley as Elizabeth Weiland and Ethan Hawke as Lorenz Hart in BLUE MOON. Photo Credit: Sabrina Lantos. Photo courtesy of Sony Pictures Classics.
Blue Moon is the ninth collaboration between these men (Before Trilogy; Tape; Boyhood), so both have a clear understanding of how each other works. Linklater lets Hawke off the narrative leash, allowing for narrative soliloquies without being obnoxious to the viewer. Yet, simultaneously, Hawke knows when to pull back in those moments. That particular talent shines in the film’s quieter moments with Rogers (Scott) and a former mentee of Hart’s (Margaret Qualley). It gives the film an emotional honesty that could prove surprising.
That emotional honesty can also be attributed to a frequent Richard Linklater collaborator, editor Sandra Adair (Before Trilogy; Dazed and Confused; Hit Man). Adair has edited 21 films of Linklater’s, starting with Dazed & Confused. With that sort of longevity, it’s clear she (Adair) has a relationship with Linklater similar to Hawke’s. She understands the points Linklater wants to hit as a filmmaker. That most importantly means making the dialogue crackle. With the film being set in one location, there’s a risk of the entire affair becoming dull. Thankfully, in the case of Blue Moon, that is the furthest thing from the truth. Adair keeps the story moving, but lets scenes linger in the places where they’re needed. That combination of direction, editing, and lead performance makes a sight to behold.
L-R: Jonah Lees as Morty Rifkin and Ethan Hawke as Lorenz Hart in BLUE MOON. Photo Credit: Sabrina Lantos. Photo courtesy of Sony Pictures Classics.
Blue Moon is a film that certainly won’t be to everyone’s liking. Since the film is essentially a stage play, some may find it dull or repetitive. While this is understandable, viewers would still be missing out. There’s a highly entertaining quality to Blue Moon thanks to its central performance. Add in sharp direction and efficient editing and the results are delightful. Sometimes seeing great actors do their thing is more than enough. Those willing to go on the ride won’t be disappointed. Blue Moon is an old-fashioned chamber piece that I wish Hollywood would make more of.
In select NY & LA on October 17th, 2025.
Nationwide release October 24th, 2025.
For more information, head to the official Sony Pictures Classics Blue Moon website.
Final Score: 4 out of 5.
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Categories: Reviews
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