Here After

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!

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.

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.

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.

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.