Richard Linklater
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Filmography
Dazed and Confused 1993 
Boyhood 2014 
Before Sunrise 1995 
Before Sunset 2004 
Waking Life 2001 
SubUrbia 1997 
A Scanner Darkly 2006 
Before Midnight 2013 
Bernie 2012 
Where'd You Go, Bernadette 2019 
Apollo 10½: A Space Age Childhood 2022 
Bad News Bears 2005 
The School of Rock 2003 
Hit Man 2024 
Me and Orson Welles 2008 
Slacker 1990 
Everybody Wants Some!! 2016 
Fast Food Nation 2006 
Last Flag Flying 2017 
Tape 2001 
The Newton Boys 1998 
Nouvelle Vague 2025 
Blue Moon 2025 View:
Connections, in both directions
“Booksmart” also cuts its manic horniness with a meandering weirdness that recalls Richard Linklater’s ambling “Dazed and Confused” as well as hints of the low-key dread running through “American Graffiti,” the urtext of this genre.
It’s another film in the grand tradition of right-around-graduation movies ( Can’t Hardly Wait , Dazed and Confused , Pretty in Pink, 10 Things I Hate About You ), but Booksmart gives off especially distinct Superbad vibes, both in story structure and its general theme of growing up.
Because of the film’s timeless message, Booksmart evokes the pantheon of teen/college comedies that come to define generations: Fast Times at Ridgemont High, The Breakfast Club, Dazed and Confused, 10 Things I Hate About You, and, yes, even Superbad.
To do so, however, would reveal a lack of familiarity with all of the tropes of teen films from Dazed and Confused to Can’t Hardly Wait and simultaneously diminish Booksmart to a simple gender flip take on a decent, but inferior film.
We’ve had movies like “Dazed and Confused,” “Mean Girls,” and “Breakfast Club,” and we’re very fortunate to have had two very good movies (“Eighth Grade”) about the modern youth culture in the last five years.
If you’ve seen “Dazed and Confused” or “Superbad” you’ll recognize the mood of aggressive silliness and sincere sentiment that hovers over Molly and Amy’s adventures.
But one of the beautiful things about “Weekend” – and here, it echoes the Ethan Hawke/Julie Delpy “Before Sunrise” and “Before Sunset” – is that it spends so much time with its characters that their unexpected connection seems to be springing to life before our eyes.
Weekend is a closer match emotionally to Richard Linklater's Before Sunrise and its sequel, Before Sunset.
We've seen this love story before; "Before Sunrise," with Ethan Hawke and Julie Delpy, and "Certified Copy," with Juliette Binoche, come to mind.
And, not unlike Richard Linklater's Before Sunrise and Before Sunset , a ticking stopwatch hangs over Weekend that amplifies the intensity of every conversation, every fight, every drink, every copulation.
At times reminiscent of Richard Linklater’s talky two-handers Before Sunrise (1995) and Before Sunset (2004), Haigh’s film is at once more credible and more intimate.
Imagine a cross between John Ford’s “Young Mr. Lincoln” and Richard Linklater’s “Before Sunrise,” and you get a sense of the tone of a movie that tiptoes to the edge of hagiography but never falls in, at least entirely.
Earning comparisons to “Before Sunrise” with, of course, completely different threads dealing with race, ambition and the city of Chicago itself, writer-director Richard Tanne’s feature debut, aside from a few clunky bits of exposition about certain real people, strikes a delicate balance between lighthearted flirtation and substantive discussion.
Perhaps taking Richard Linklater's "Before Sunrise" as a model, the film — which opens Friday at multiple theaters — presents an abbreviated chronicle of the several hours shared by the wary and formal Robinson and the more confident, shirt-sleeved and slightly scheming Obama during what Michelle repeatedly insists is not a date.
Tanne's film follows the first date of the future first couple, "Before Sunrise" style.
There are times when “Southside” feels like the perfect mashup of “Before Sunrise,” “Shakespeare in Love,” “Love & Basketball” and the John Ford classic “Young Mr. Lincoln.”
Like “ Before Sunrise ,” a film which invites comparison, “Southside with You” is a two-hander that's top-heavy with dialogue, walking and a knowing sense of location.
Licorice Pizza (2021)
Directed by Paul Thomas Anderson
influenced by Dazed and Confused (1993), Bad News Bears (2005), Before Sunrise (1995), Before Sunset (2004), Before Midnight (2013)
Visuals Themes Dialogue
For the most part, Anderson channels Richard Linklater's vibe and tone in Slackers and Dazed and Confused.
There’s also the incredible soundtrack, the beauty of seeing it in 70 mm, and Anderson’s script reminiscent of teenage classics like Dazed and Confused , Empire Records , and The Last American Virgin .
While there are certainly echoes of other teen films, Dazed and Confused and The Last American Virgin come to mind, Licorice Pizza is its own thing because only Paul Thomas Anderson can tell this story in this way.
It reminded me of Dazed and Confused but without Linklater’s snappy dialogue.
It’s nothing against the instinct, I get it, I love Dazed and Confused too.
Much like another fine ‘70s nostalgia piece, Richard Linklater’s Dazed and Confused , the pleasing texture of Licorice Pizza masks the emotional turbulence under the surface.
Most adaptations of novels or short stories by cult science fiction writer Philip K Dick (Paycheck, Minority Report, Total Recall) use his imaginative scenarios for action sequences but sideline his extraordinary philosophical musings.
Unlike Ridley Scott (Blade Runner), Steven Spielberg (Minority Report), and Paul Verhoeven (Total Recall), Linklater has chosen not to massage the story to make it more accessible.
From Total Recall to Minority Report , Screamers to Blade Runner , the themes have always included a Big Brother world of paranoia, some suppressive totalitarian government and a technological future that squelches individuality.
The strange, kaleidoscopic universe of writer Philip K. Dick has been transferred to celluloid numerous times, in films from Blade Runner and Total Recall to Minority Report.
If we can imagine it for you, it's true (echoes of Dick's short story, "We Can Remember It For You, Wholesale", which became Total Recall ), thus this mass media televisual dystopia of ours becomes the angry fix for our atrophied left hemispheres.
But for every Minority Report or Blade Runner, we’re stuck also with a Paycheck or (shudder) Total Recall.
What Movies Will It Remind You Of?: Monday‘s dreamy, steamy summer vibes evoke Call Me By Your Name and A Bigger Splash a bit, though the stories are obviously quite different, and its attempt at capturing a romantic moment in time also might bring to mind the Before Sunrise trilogy.
“Monday” is a riff on Richard Linklater’s “Before Sunrise” (and its sequels), and Andrew Haigh’s “Weekend,” films in which romance blossoms for a mere moment in time.
Cinema master Richard Linklater did it best with “Before Sunrise” and two subsequent films starring Ethan Hawke and Julie Delpy.
In its opening scenes, “Monday” plays a bit like a sped-up version of “Before Sunrise.”
Have you ever wondered what "Before Sunrise" might have been like if the two people who spontaneously meet and connect intensely over the course of one night were self-absorbed and painfully uninteresting schmucks and we found ourselves stuck long past that first day as they half-heartedly attempt to build a relationship that might continue on once the initial hormonal rush wears off?
Honestly, as depressing as its subject matter is, the idea behind the film is solid, many times resonating with the highly successful classic Before Sunrise.
mid90s (2018)
Directed by Jonah Hill
influenced by Dazed and Confused (1993), Slacker (1990), Boyhood (2014), Everybody Wants Some!! (2016)
Dialogue Themes Visuals
Someone like Linklater can carry off intelligent teen dialogue without it seeming forced in films like Dazed and Confused and Everybody Wants Some!! , but in Mid90s the sincere moments, like the one where Ray sits Stevie down and has a heart-to-heart about his family, come off as scripted and trite.
“Mid90s” is like “Dazed and Confused” (1993) crossed with “Kids” (1995), “Freaks and Geeks” (1999), “Dogtown and Z-Boys” (2001), and “Slackers” (2002), with a sprinkling of this year’s “Eighth Grade.”
In the end Richard Linklater seems the most obvious inspiration for this lo-fi but artistically ambitious indie focusing on a group of Los Angeles skateboarders, with Hill channelling Dazed and Confused and Slacker and Kevin Smith's Clerks .
Mid90s eschews the larkish qualities of a 1980s teen sex comedy or the fondness of Richard Linklater films such as Boyhood or Dazed and Confused .
À la fois un jouissif « hang out movie » à la Dazed and Confused et le meilleur film que Xavier Dolan n’a jamais réalisé, on sent surtout que Mid90s est du pur Jonah Hill.
Films like American Graffiti and Dazed and Confused try to explore the past with youthful eyes and a determined lack of nostalgia.
Shithouse marks the impressive debut of writer-director-star Cooper Raiff, who generates some low-key Before Sunrise vibes with the tale of a sensitive, homesick college freshman who might just be the last non-toxic white male on campus.
The movie borrows the discursive getting-to-know-one-another formula from movies like Richard Linklater’s “Before Sunrise,” but doesn’t give its characters anything particularly memorable to say.
Well pitched and briefly suggesting a less intellectually ambitious kid brother to Before Sunrise , the film's only serious misstep is its name: Though it's true a party at a communal campus dwelling called The Shithouse sets the story in motion, that moniker's in-your-face vulgarity could hardly be less representative of the story's gentle, sad protagonist.
The two walk and talk, “Before Sunrise”-style, bury Maggie’s departed turtle, and sleep together.
But in crafting a college love story with shades of “Before Sunrise,” Raiff has made a movie that has a lot more to say about his leading man than his leading lady.
There’s a little slapstick, a little drama, a little judging, a few good (not great) lines and a few instances of bad sex in this “Before Sunrise.”
Adventureland (2009)
Directed by Greg Mottola
influenced by Dazed and Confused (1993)
Characters Themes Visuals
He’s one part Matthew McConaughey from “Dazed and Confused,” while also trying to set himself above the younger employees by referring to them as “kids.”
Its total recall of the ardour of youthful infatuation feels closer to something Eric Rohmer might have exhaled, or Linklaterâ??s Dazed And Confused.
The early scenes of the film are great, with Mottola creating a tone somewhat akin to Dazed and Confused -- nostalgic for a bygone era without making it all seem overly cheery or false, and with a very naturalistic feeling that often makes you feel like a fly on the wall to James and his friends, as they work and party their way through the summer.
He shows every bit as loving and pinpoint-perfect an observational eye for the late '80s as George Lucas did for the end of the greaser era in American Graffiti and Richard Linklater did for the free-ride '70s in Dazed and Confused.
Thing is, she's attracted to Mike (Ryan Reynolds), the older married guy who goes after younger chicks (a stock figure in most of these movies since at least Dazed and Confused).
As long as we’re tossing around comparisons, then think the cultural flashback of Dazed and Confused moved up a decade.
At the very least, it’s his “Before Sunrise.”
This movie is Kanye West, Eddie Murphy, and the Tracy Morgan of 30 Rock on the one hand, and Before Sunrise on the other.
Clearly inspired by such Woody Allen classics as “ Stardust Memories ,” as well as the “Before Sunrise” trilogy starring Julie Delpy (in whose charming romantic comedy “ 2 Days in New York ” he co-starred), Rock seems clearly to have found his groove after the directorial missteps “ Head of State ” and “ I Think I Love My Wife .”
In essence, Rock has made his version of Richard Linklater's "Before Sunrise" series by way of the humorous self-reflection found on "Louie," scripting a tale of midlife crisis discussed in detail by a man and woman as they roam around over the course of a single day.
…reminiscent of Linklater’s Before Sunrise , the film allows the couple the chance to argue and joke about politics (Obama is actually half black and half white, insists Rock) and race (the original Planet of the Apes movie actually contributed to the assassination of Martin Luther King, hypothesises Rock).
An extended “Before Sunset”-esque walk-and-talk through the streets of New York City has the pair holding forth on a series of topics that will be familiar to those who have read his writing or seen his stand-up: Race, fame, hip-hop, Obama, Tyler Perry, the media, et al.
The fact that its premise of two strangers walking and talking all night calls to mind superior films – mainly, “ Before Sunrise ” – only makes things worse.
Clearly inspired in just about every way by Richard Linklater's " Before Sunrise " trilogy, the film is basically an extended conversation as Brooke and Nick talk the night away.
01-- At first glance at a trailer or even poster for "Before We Go," one might assume that it's the kind of light romance that takes place between strangers who meet each other for one night, in the vein of Richard Linklater's "Before Sunrise."
"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.
For his first foray behind the camera, Evans exhibits a shaky hand—literally, as his unsteady camerawork turns the proceedings borderline nauseating, and contributes to the general unevenness of this slight NYC-centric riff on Richard Linklater’s Before Sunrise.
"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.
One of Dick's books, A Scanner Darkly describes a nightmarish world in which a narcotics agent ends up narking on himself.
The filmmakers based the movie on a story by the late Philip K. Dick, from whose prolific writings have come such other sci-fi films as "Blade Runner" (1982), "Total Recall" (1990), "Screamers" (1995), "Impostor" (2002), "Paycheck" (2003), "A Scanner Darkly" (2006), "Next" (2007), and "Radio Free Albemuth" (2010).
Most adaptations of novels or short stories by cult science fiction writer Philip K Dick (Paycheck, Minority Report, Total Recall) use his imaginative scenarios for action sequences but sideline his extraordinary philosophical musings.
Like Ridley Scott's Blade Runner and Steven Spielberg's Minority Report, A Scanner Darkly is based on the science fiction of Philip K. Dick.
The writer Philip K. Dick has inspired Hollywood to both highs ("Blade Runner", "Minority Report" ) and lows ("Paycheck", "Imposter") with his cautionary tales set in very recognizable futures.
Victoria (2015)
Directed by Sebastian Schipper
influenced by Before Sunrise (1995)
Plot Themes Dialogue Characters
It’s like if “Before Sunrise” suddenly turned into a minimalist “Heat,” complete with a robbery scene shown entirely from within the getaway vehicle.
The transition from astute "Before Sunrise"-style love story to kinetic thriller in the vein of "Run Lola Run" is seamless.
Director Sebastian Schipper had only 12 pages of script, and with the cameras rolling nonstop, he let the actors improvise their lines, aiming for the loose conversational style of something like the Richard Linklater film “Before Sunrise.”
She accepts, and so begins an off-kilter adventure that brings to mind Before Sunrise — if Ethan Hawke’s Jesse had been of considerably more dubious character.
They wander a bit behind the rest of the hooligans, and their scenes have the easy, natural rapport of first love that recalls other single-night stories like Before Sunrise.
Schipper’s direction is extremely accomplished throughout, effectively pulling off a seamless series of genre switches, but giving each story equal dramatic and emotional weight, so that the early section has all the charm and intimacy of, say, Richard Linklater’s Before Sunrise (there’s a beautiful, tender moment involving a piano that comes out of nowhere and is utterly charming).
Like Before Sunrise, this film follows two people as they roam through a setting that's foreign to both of them.
I kept thinking of Alain Resnais’s mysterious couple in Last Year at Marienbad, and also Richard Linklater’s clock-watching twosome in Before Sunrise.
Abbas Kiarostami's deft conversational drama (Certified Copy) has the appeal of a middle-aged Before Sunrise.
One wonders if Kiarostami is sending up romantic comedies like “Before Sunrise,” where two strangers meet in a foreign locale and become infatuated.
Many American viewers will immediately think of Richard Linklater’s Before Sunrise, as Kiarostami’s film takes the form of two people flirting and squabbling over a long conversation that winds its way through a beautiful European city.
Certified Copy follows the form and function of Linklater's Before Sunrise, Chris Marker's La Jetée, and, again, Alain Resnais's Last Year at Marienbad by presenting a concept in flux that gradually, seductively pushes a relationship through enough subtly-shifting revolutions that it begins to shake all attempts at framing it.
This is “Before Sunrise’’ territory.
And as with Richard Linklater's Before Sunrise, part of the great joy to be taken from Cairo Time is in watching these two strangers as they stroll the streets of a remarkable city, getting to know each other, intimately.
The demands of the multiplex make films like “Cairo Time” more welcome than ever: with an emphasis on male-female talk (a la Before Sunrise) and the Egyptian scenery, Nadda takes her film at a healthy walking pace.
Nadda has written a script that can't quite muster the drive to endow more than two characters with any dimensionality, yet it seems to lack the temerity to restrict itself entirely to these two people and see what it can show us about them (à la Before Sunset ), minus the dramatic convenience of a few supporting foils.
Juliette's Stupid Tourist episodes lead to loneliness, frustration, and humiliation, which in turn prompt her to seek out Tareq, who is seemingly always up for long walks and longer conversations—think Before Sunset, weighed down by awkward articulation of the central couple's cultural differences.
This movie will no doubt be compared to Lost in Translation and Before Sunset , delicate tales of dislocated souls who find solace in other, equally dislocated souls, usually in a foreign land.
Moonlight (2016)
Directed by Barry Jenkins
influenced by Boyhood (2014), Before Sunrise (1995), Before Sunset (2004)
Themes Plot Visuals
Like Boyhood, it sketches out a complete life—from childhood to adolescence to adulthood—that is unique but profoundly relatable, and it shares that movie’s big heart and open-spirited view of the world.
Told in three chapters over the course of about 16 years, “Moonlight” (adapted from playwright Tarell Alvin McCraney’s short, poetically titled theater piece, “In Moonlight Black Boys Look Blue”) is one of the first post-“Boyhood” indies to take a serious look at a young man’s evolution over time — though Jenkins employs the traditional strategy of casting different actors to portray Chiron (whose name is pronounced like that of the former Israeli prime minister) and his peers at the different stages of their lives.
But this is also the point: Moonlight isn’t Boyhood.
The easy comparison for Moonlight is the 2014 Richard Linklater film Boyhood, because both films move its lead characters chronologically, so that the coming of age becomes visually literal; there is not one specific journey these characters embark upon at the end of which they feel more adult or mature or grown.
It’s strangely reminiscent of the 2015 best picture nominee “Boyhood,” which director Richard Linklater filmed over the course of 12 years with the same cast.
Directing, screenwriting, acting, cinematography and music combine superbly in the movie, which is based on a play by Tarell Alvin McCraney and has been compared to Richard Linklater’s “Boyhood” and Charles Burnett’s “Killer of Sheep.”
Columbus (2017)
Directed by Kogonada
influenced by Before Sunrise (1995), Before Sunset (2004)
Plot Themes
In this short time, Jin and Casey take only baby steps toward a relationship, in a manner that recalls Richard Linklater’s Before Sunrise.
This is not Before Sunrise : no romance blooms between Jin and Casey during their Socratic back and forth.
Though it might feel like Linklater’s Before Sunset , the story is very turbulent.
Take Me Home Tonight (2011)
Directed by Michael Dowse
influenced by Dazed and Confused (1993)
Themes Plot
At times director Michael Dowse and his co-writers Jackie and Jeff Filgo are clearly channeling American Graffiti and Dazed and Confused, films that find both humor and pathos in their characters’ failings and foibles and also notably don’t use their period settings as a source of comedy.
Dowse’s film is so formula that it is aimlessly predictable, borrowing from the likes of “American Graffiti” and “Dazed and Confused.”
Like Richard Linklater's Dazed and Confused (1993) and George Lucas's American Graffiti (1973), this is one of those coming-of-age comedies that centers on a single wild night.
Taking place over a 24-hour period during which young graduates confront apprehensions about their future paths in life, Take Me Home Tonight only calls to mind better films such as American Graffiti and Dazed and Confused.
That's the way we've often seen it in movies, notably generational touchstones such as "Dazed and Confused" and "American Graffiti."
It?s one of those all-in-one-night comedies in the spirit of American Graffiti and Dazed and Confused, where the characters gain a lifetime of worldliness in a single night.
The remainder of Marriage Story is grueling, like the heart-wrenching third-act argument in Before Midnight between Celine and Jesse stretched out for 2+ hours.
It reminds me a lot of “Before Midnight,” but where Jesse and Celine are a couple you actively want to root for, Nicole and Charlie are not.
He strives for Ingmar Bergman’s “Scenes from a Marriage” (1973), building to a monster blowout argument to rival Jean-Luc Godard’s “Contempt” (1963) or Richard Linklater’s “Before Midnight” (2013).
Driver quietly embodies the frustration of being ambushed by Nicole’s seemingly sudden decisions, slowly erupting into a superbly acted and extremely uncomfortable to watch fight between the couple rivaled only by the volatile argument depicted in Richard Linklater’s Before Midnight.
“Marriage Story” rarely gets explosive, except one signature scene that channels Richard Linklater’s “Before Midnight” (2013).
When the two of them are on screen together, it’s humanity that shines through, whether in a raucous argument that recalls the best moments of Richard Linklater’s Before Midnight or in a courtroom scene that sees both of them remain tellingly silent.
Nick and Norah's Infinite Playlist (2008)
Directed by Peter Sollett
influenced by Before Sunrise (1995)
Themes Plot
There�s probably a little too much chasing down the drunk friend, despite how funny Graynor is, and you wish there was a little less grumbling and more of the Before Sunrise/Sunset feel that we get in the final half hour which is quite special.
Based on a popular novel by Rachel Cohn and David Levithan and echoing everything from "American Graffiti" to "Before Sunrise," this is a movie that doesn't know how to say "no."
That the title protagonists are still in high school is beside the point; theirs is a romance, like the ones in 1995's "Before Sunrise" and 1999's " Trick ," that nails exactly what it is like to fall in love, no matter age, gender, race or sexual preference.
Nick and Norah's Infinite Playlist is shaped like a kinder, gentler After Hours with a little of the aforementioned Before Sunrise thrown in for good measure.
Nick and Norah’s Infinite Playlist has been described as the Facebook generation’s Before Sunrise, and that’s certainly half the reason I love it dearly.
…meets Before Sunrise .