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It’s very late, and with the doors being closed for the night, both are forced outside.
Sensing that she’s a bit adrift, Nick becomes the Captain America of chivalry, and upon learning her purse was stolen, which included her wallet and credit cards, he’s determined to help her get home.
The final indignity committed by “Before We Go” is setting a movie in Manhattan that looks like it could’ve taken place anywhere.
For a city that is alive late at night like no other, and offers endless possibilities for unique places for these characters to go, the screenwriters and Evans (perhaps due to budgetary reasons) keep most of the action on anonymous streets, and even less familiar bars (though hey, Cup And Saucer).
Celine and Jesse’s journey through Vienna was partially about escaping their respective breakups, but their discussions centered on all the things people connect over—love, life, religion, philosophy—and made them complex, compelling people you wanted to spend time with and know more about.
By contrast, Brooke and Nick are not even half as interesting.
If there is anything Chris Evans can take away from “Before We Go,” it would be to treat the film as a tremendous learning experience.
And so follows one night in Manhattan, with Brooke and Nick becoming drawn to each other, while harboring secret pains from their past, that will start being healed over the next few hours together.
Evans clearly aspires to make a breezy and relatable, Richard Linklater-esque walk-and-talk movie, but lacks the skills to make it feel natural.
“Before Sunrise” is an obvious touchstone and influence on “Before We Go,” right down to a running device involving pretend phone calls (except Nick and Brooke call their past selves), but it severely lacks that film’s heart and soul.
What made Linklater’s film(s) work so well, and the characters feel so real, was that we learned everything about them.
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