Here After - L'aldilà

1. Don't see this.

I think someone wrote an OK script, then someone from hollywood, rewrote it to add all the clips you see in the trailer.

Sadly this destroyed the movie.

No direction, except the dumb use of tilted shots - why and when.

During the last 45 mins, I found myself listing failures, acting, directing. Tommaso Basili has his head in hands and I swear, you can see him thinking, why did I take this role???

So the story, plausible, but so much useless information was added, scenes that set up nothing an informed no one of anything - just pointless.

The real crac: it takes 60 mins to get to the story. Then 30 to setup and 5 to finish. All the wrong way round.

Was this a thriller or a horror? Make up was laughable - demons and monsters and religion.

Poor rehash of old material and the co-stars were left with rubbish lines and missed opportunities.

I learned nothing new except that random use of angled camera shot annoys everyone - saved gimmicks for meaningful story events.

The film demonstrates remarkable proficiency in its execution of camera angles, fashion design, and the selection of diverse environments and locations. Visually, it captivates the audience, creating a rich and immersive cinematic experience. However, the storyline presents some accessibility challenges. A significant portion of the dialogue is delivered in a foreign language, and the absence of English subtitles for these segments hampers the audience's ability to fully comprehend the narrative. This is a regrettable oversight, particularly given the film's high production values.

Furthermore, while certain camera angles contribute to an intriguing atmosphere, the pacing of the film is notably sluggish. It takes a considerable amount of time for the story to hint at its horror elements, which may leave some viewers feeling disengaged. Personally, I favor films that introduce horror themes more swiftly or interweave them throughout the narrative from the outset. I find that productions adhering to conventional themes and formats within the basic horror genre often lack the depth and innovation that truly engage my interest.

Here After, starring Connie Britton, explores life, love, and the afterlife in a whimsical yet disjointed way. The film follows a man's journey in the afterlife, where he must find true love to move on, blending elements of romance and the supernatural. While the premise is intriguing, the execution falls flat, with pacing issues and dialogue that sometimes feels forced. Despite a solid performance from Connie Britton, the film struggles to connect emotionally, leaving you more aware of its flaws than invested in the characters. Overall, it doesn't quite deliver on its promise, making it a tough watch at 3/10.

This might have been a good story with different actresses. The daughter looked literally inbred, genuinely Hapsburg jaw and crooked ears and Connie Britton as the mother was so unsympathetic, really seemed like some kind of narcissist, everything is about her (and yes eventually we find out what trauma caused this extreme self-centeredness). UGH.

I kept watching because I was curious about the mystery but it was so hard to watch Britton hamming it up and never quite making me feel sorry for her. The daughter also is a flat character, feels very objectified in a series of near corpses - only in relation, to the mother never a complete human.

I don't think Connie Britton was the right actress for the part. She may be ok for Hallmark but that's not my cup of tea. I think there was a good storyline behind it, it just missed the mark. I wouldn't placed it under horror. Maybe drama. I also could have done without the Italian, I think the accent would have been enough. I hated they used a point she thought children would make things better. Sounds like something from the dark ages. It needed some tweaks. Needing help but not wanting to tell why was annoying but I guess they though the was a big part of the plot. It just needed more. With an actress more suited for the role!