| Sony Pictures Classics | Release Date: October 17, 2025 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
37
Mixed:
6
Negative:
0
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Critic Reviews
Directed by his longtime friend and collaborator Richard Linklater, Mr. Hawke makes the most of what might be the year’s most brilliant screenplay, by Robert Kaplow, by delivering a Hart full of mischief and wit, desperation and self-loathing. There has never been a great book written about Hart, but at last he has this movie to renew and restore his story.
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Blue Moon, which plays out on the night of the premiere of Rogers and Hammerstein’s first hit, Oklahoma!, is a romantic, funny, moving, life-affirming chamber piece that is itself a great example of a three-way creative collaboration – between director Richard Linklater, writer Robert Kaplow and actor Ethan Hawke.
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Lorenz is the kind of role that Hawke thrives in — a big talker and a self-mythologizer who everyone can’t help but like, despite being aware that he’s mostly full of shit. He wisely approaches the character like he’s giving a performance of a performance, his Lorenz committing himself as thoroughly as he can to acting like someone who’s happy and having a good time despite everything in his life crumbling away.
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Linklater really nails the atmosphere here; watching Blue Moon feels like sitting with smart people in a retro bar, covered in a gentle blanket of cocktail piano. And Hawke, often surrounded by wafting symphonies of cigar smoke, gives a beautifully shaded performance, of equal parts bravado and vulnerability.
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The script by Richard Kaplow, who wrote Linklater’s 2008 film Me and Orson Welles, feels as though it were adapted from an off-Broadway play, with the action mostly in one location over the course of one night, March 31, 1943, the opening night of the Rodgers and Hammerstein musical, Oklahoma!
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There are points here where it feels as if Linklater was trying to make a gender-switched version of Fassbinder’s tragic The Bitter Tears of Petra Von Kant, but without really leaning into the forceful bitterness and agency of the protagonist, and opting to have the text make a more profound point about the precarious nature of power and influence.
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