The invited producer had watched both films for the first time on a plane, a setting the others consider appropriate.
The first film is mesmerizing, especially its early-twenties dialogue and a compatible couple who do not agree on everything.
The optimistic ending is loved, though Jesse’s initial smugness makes Celine’s attraction puzzling; their differences gradually soften them.
Celine must be French; the Jennifer Connelly recast would not work for this viewer.
Fear that a delayed sequel would spoil the original gives way to delight at the reversed perspectives and gradual renewed connection.
Both films are called perfect, but these characters feel unusually weathered at 32 compared with contemporary thirty-year-olds who reach family milestones later.
The extra eighty minutes are suspenseful and completely captivating; the reviewer declines to watch the third film yet.
Train settings; Jesse’s conversational bits; Hawke–Linklater collaboration; actor co-writing; Vienna; French-girl archetype; aging-with-the-characters sequels; Cemetery of the Nameless; June 1994 setting; lines about loss and connection
Train travel and Jesse's rehearsed conversational theories are praised as central pleasures.
Jesse's childhood story is connected to the later Boyhood, making Hawke and Linklater's collaboration feel continuous.
The European train-pass experience is recommended as an enduring form of travel.
Casting actors who can write and letting them shape the characters is described as a sophisticated filmmaking method.
Vienna in summer and the film's French-girl archetype remain appealing.
Sequels that let characters age in real time are praised as a rare, still potent device.
The Cemetery of the Nameless is praised as an evocative place and idea.
The story's June 16–17, 1994 dates place the farewell on the day of the O. J. Simpson chase, World Cup opener, Knicks-Rockets Game 5, Rangers parade, and Arnold Palmer's final U.S. Open round.
The line about realizing how little an ex thinks about you is singled out as painfully universal.
The film's claim that magic lies in trying to understand another person is treated as its central wisdom.