Hereafter

Clint Eastwood has confirmed at least one thing once again, and that is that he can still make compelling stories whose main charm lies in the dense emotional power of a few individual moments (stealing a phone, for example). It's a purely conversational film (except for the opening action scene) whose strength lies not in its tightly and compactly constructed plot or in the deep profiling of its characters, but above all in Eastwood's approach, which I'm not afraid to describe with words like "mature" or "seasoned" and, above all, still relevant – in the sense that Clint still has something to say. It didn't tear me up nearly as much as Changeling, but it was an enjoyable two hours nonetheless.:) (07/03/2011)

It’s clear that the high workload of recent years is not very good for Clint. The phenomenal Gran Torino and Changeling were followed by the average Invictus, and now comes the fail that is Hereafter. At first, it was touted as a mysterious thriller in the style of The Sixth Sense, which is obviously not true. Ideally (if it was good), Hereafter would be a sentimental reflection of life and death, but it’s so badly written – if you are expected to believe in the fate of predetermined events, those events shouldn’t feel like fucking forced coincidences. The performances are also weak, though that shouldn’t be a surprise given the shallow lines the actors have to utter is various WTF scenes. Only Damon comes out with his head held a little high. There are some moments where you can feel the potential of the material, but the whole was unable to arouse any intense emotions. This film is colder than a penguins butt, even though it really wants to be deep and sensitive. Even after the disappointed responses I was hoping for a decent time, but I’m very unpleasantly surprised at how weak this film turned out to be. PS: The tsunami was nice, but utterly pointless, really. (03/03/2011)

An extremely interesting idea alone can't hold an entire film together. The impressive start is soon displaced by an unusually long and uninteresting story that, by Eastwood’s standards, teeters on the edge of massive kitsch. The attempt to incorporate as many fantasy elements into the plot as possible is understandable, because without them everyone would probably get bored. The performances are also top notch and save what they can, but none of this has the power to plug the huge hole of untapped potential that mars this otherwise very unconventional movie. (30/06/2012)

Just today an airplane carrying some Czech ice hockey players crashed in Russia. So Hereafter seemed to suit this sad day. Clint hasn’t got soft, just older and so he said to himself that he would film the requisite pensioner’s ruminations about death and throw it to an audience hungry for his movies. A stylish opening with a tidal wave (that ingenious scene must have swallowed most of the budget) turns into a conversational drama of three people whose destiny becomes (unexpectedly) entwined and everything ends up sort of ok. The picture is overflowing with excellent acting performances, just the screenplay is sometimes too blabbermouth. (07/09/2011)

Don't be swayed by the negative critical response from individuals who didn't understand it, this is a great film. Eastwood deals with the autumn of his life, when one must unwillingly be confronted with the inevitability of death, and he does it the way he does it best: very sensitively and empathetically. It outlines Moody's view on death and life after life, but in a non-violent way, he does not impose his opinion and through the fate of three people marked by the loss of a loved one, or the life experience of clinical death, he sensitively tells his story. And I have to say, I've never been so pleased with Matt Damon's acting, his subdued performance as a mature man surprised and delighted me. (03/03/2011)