User reviews

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.

The concept seemed good. A girl dies, reawakens inexplicably, and then behaves as if possessed by an evil entity. It's a basic plot, but I figured I'd be in for at least a C+ horror. The lead actress seems OK, and I guess the Italy setting seemed to mix with the religious theme

I just feel that the movie fails to execute. Instead of fully focusing on the girl and what's wrong with her, we get all these annoying and boring flashbacks involving the mother (they keep going back to some scratches on her arm too). At one point, she meets an individual who describes how he's seen people who came back from the dead, just as the girl did; and the movie just fails so badly in this scene. What should have been a scary exposition comes off as normal and mundane for some reason. Basically - my feedback is that movie should've focused more on the girl, not the mother and her past.

This reviewer goes to skewer the movie because he thinks the young girl is deaf. Obviously this reviewer was not paying attention or us incapable of figuring things out. I knew she wasn't deaf when the Mother entered the house and the girl after obviously hearing the front door open and close. Regardless shortly after that they clearly state that she lost the ability to speak. The reviewer apparently in a loud of confusion failed to note that after she recovers from the accident people are amazed she can speak. Not once is it mentioned that she can hear again. I cannot stand clueless reviewers who can't comprehend simple obvious facts.

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.

Everything about this movie is average, except: 1. The script (it sucks) 2. The directoin + editing (it's boring) The plot is so predictable it makes your eyes bleed.

Let me give you a hint: at the very instant I heard someone say the word "Bicycle" I said to myself: "The girl is gonna die in an accident. No way around it."

The whole script is so terribly predictable that this movie should have a big disclaimer on the opening credits saying... "Spoiler Alert!"

This movie was made just because thera is a streaming service to back it. No sane producer would touch this with a ten-foot pole. Nor would they be able to hire the main star in the cast, even though she's like "C" grade.

Greetings again from the darkness. Screenwriter Sarah Conradt must think mothers possess superhero emotional strength, if we are to judge by her two most recent films - this one and MOTHER'S INSTINCT (also 2024). In this feature film directorial debut from long-time producer Robert Salerno, the mom is really put through the ringer - and we are right there with her.

Claire (Connie Britton, "Nashville", FRIDAY NIGHT LIGHTS, 2004) beams proudly as her fifteen-year-old daughter, Robin (Freya Hannan-Mills), plays piano in church. Claire also rolls her eyes when her ex-husband/Robin's dad (Giovanni Cirfiera) walks in as the performance nears conclusion. We learn Robin has been non-verbal since age 5, yet she's a talented enough pianist to be invited to audition for conservatory.

Claire and Robin have a loving mother-daughter relationship, although Claire seems a bit overprotective at times. Things turn bonkers when Robin is involved in a horrible bicycle accident and is dead for 20 minutes before being miraculously resuscitated at the hospital. Claire is relieved her prayers were answered, however, as so often happens with 'miracles', there's a catch. See, Robin can now speak. Only that's not the catch. Claire begins to notice Robin's personality is nothing like it was before the accident. Is this due to the trauma or something more sinister from beyond? I believe the film's title provides a clue.

Religion is on display throughout the film and in many forms. Also on display is Connie Britton's RWF (in contrast to RBF). Ms. Britton excels at a constantly 'worried' look, and is well cast to play the mother role in a film written by Sarah Conradt. Of course, we do discover why Claire has been carrying around all this guilt. It's also the reason why Robin initially stopped talking at an early age. The final act works off of a tremendously interesting premise, and some will find the execution a bit too artsy for this type of movie, while others will appreciate the approach.

Opening in select theaters and on digital September 13, 2024.

This movie might have worked if it had been released in the early 2000s, but by now, we've seen this story hundreds of times. There's nothing original in this film, no standout scene, or anything memorable, which makes it a forgettable, below-average flick. It's not awful by any means, but there's really nothing particularly enjoyable or unique about it. Probably the most interesting aspect of the movie is Connie Britton as the lead. It's rare that a movie below 90 minutes runtime feels that long.

The horror elements are also very light, which is disappointing since the trailer made it seem like this would be a proper horror movie. Unfortunately, there are no noteworthy scares or tense scenes. I can't imagine many people enjoying this movie, so I can't recommend it. [4.2/10]

So in reading the reviews of this movie, I feel it is getting judged quite unfairly. It was acted beautifully, directed beautifully, and the story is quite engaging. That is, assuming you go in expecting it to be a beautifully acted, directed, and written drama about the disturbing struggles of a mother and family, and the puzzling nature of those struggles.

Seems that plenty of spoilers have already been revealed, but I just wanted to say that you should indeed see this movie if you go in expecting that type of movie. I agree with other reviewers who were disappointed in the horror aspect of the film, but to be honest I never went in expecting it to be a horror movie. I can see how some of the marketing may give that impression, and it really isn't supposed to be a horrific film in my opinion. Dramatic and mysterious yes, but as a fan of horror I wouldn't look to Here After to scratch that sort of itch.

I think many who would love this movie and who, like my wife, are not horror fans should see it. She loved it as well. I give the film a solid 9, but its perplexing and IMO somewhat off-base marketing, well not a 9.

I didn't have any expectations of the movie beforehand. I like the lead actress Connie Britton and the movie description sounded interesting so I decided to give it a try. I felt it was a haunting sort of movie rather than scary. Details slowly unfolded with the use of flashbacks and dialogue. It could have been a predictable movie but I didn't feel it was. It could have ended a few different ways. I liked how it ended. I can understand why some people found this movie slow and not scary. I wouldn't categorize it as a horror. I think it was more of a drama and thriller. I thought the acting was very believable.

A speech impaired girl plays the piano very well and lives with her mother. This girl has an accident during a trip. She is put into a coma. When she wakes up, she starts talking. But she wakes up with anger.

Shortly after the girl's waking scene, the whole movie can be easily predicted. This means that many similar scenarios have been written. The movie could not do anything different from these scenarios.

I personally did not enjoy the movie. Also, in these kinds of movies, there is apology in dreams and making amends, which is pure comedy. I can't say I enjoyed watching it.

There is no sexuality or nudity in the movie.