Retour Clandestin

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.

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 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.

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.

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.