Here After - L'aldilà

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.

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.

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.

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.