Excerpt: Actor and director Clint Eastwood has been making movies for quite some time now. For 35 of those years he’s been directing films for Warner Brothers and the result has been quite good on both ends. In 1992 his “Unforgiven” won Best Picture and a dozen years later he accomplished this feat again with “Million Dollar Baby.” Yes, I think Warner is quite happy with Mr. Eastwood and I’m sure the sentiment is reciprocal.
Summary: It’s not just the unfortunate timing that plagues this film. It’s not one of Eastwood’s most commercial efforts, and I left the movie with a sense that it wasn’t complete. It doesn’t help that the trailers I’ve seen focus on the tsunami and the few action scenes that I’m sure many members of the audience were expecting something more like a Roland/Emerich movie. That’s not to say I would have preferred such a film.
Conclusion: Take what you’ve seen in the trailers with a grain of salt. Hereafter is not a mind numbing action set piece that was probably marketed as such. It’s a very interesting drama with subtle supernatural overtones. If you go in with the proper frame of mind you will probably enjoy it more. I enjoyed it to a certain extent, but I’m a bit on the selfish side, and wished it could have been a little longer.
Excerpt: Hereafter is a conceptually powerful film, focused on three people dealing with radically different aspects of death. George (Matt Damon) is a powerful psychic after undergoing a childhood surgery for an infection near his brain stem, giving a real world plausibility to something more people consider implausible. Marie (Cecile De France) is suffering from the after effects of a near-death experience amidst the Haiti tsunami, changing her life forever.
Excerpt: George is a blue-collar American with a special connection to the afterlife dating from his childhood. French journalist Marie has a near-death experience that shakes her reality. And when London schoolboy Marcus loses the person closest to him, he desperately needs answers. Each seeking the truth, their lives will intersect, forever changed by what they believe might - or must - exist in the hereafter.
Excerpt: Though countless movies grapple with death and life and the meaning of both, far fewer screw up the courage to deal with what might come after, grappling with an afterlife in a way divorced from religion, just based on the very real hope we all have that there's something on the other side.
Excerpt: When Amores Perros came out in 2000, it looked like an uncharacteristically arty variation on the spate of Pulp Fiction knock-offs that inundated video store shelves with gritty, achronological, interconnected narratives throughout the ’90s. Seen today, Amores Perros looks less like a continuation of the Tarantino boom than the beginning of a new subgenre that includes writer Guillermo Arriaga and director Alejandro González Iñárritu’s follow-ups 29 Grams and Babel as...