Flatliners - Linea mortale

When it comes to its great effects and spooky ambiance, Flatliners has a lot of style, but when it comes to its narrative, the film is significantly lacking in substance. As a fan of the original, alongside being an admirer of Ellen Page, I was really looking forward to this film, though by the end, left the cinema disappointed.

Flatliners begins with Courtney (Page) experiencing a tragic loss. Nine years later, she is a medical student, trying to convince her colleagues to help with an experiment. Later in the film both events are connected, though significantly more depth was required.

As one can guess, Courtney's experiment involves her death, in an attempt to record what happens to the brain after a person flat-lines. Her friends Jamie (James Norton) and Sophia (the beautiful Kiersey Clemons), originally discouraged with her intentions, quickly become involved, as do Ray (Diego Luna) and Marlo (Nina Dobrev) when things don't go according to plan.

When characters travel to the other side, the use of light, sound and motion are used wonderfully to create a fantastic experience, the world beyond often visualised as been very beautiful, the music also adding to the magic of the occasion. After returning from their near-death experiences, characters are miraculously gifted with greater intellect, an idea that is never elaborated upon. Moreover, despite the characters been perceived as studious and intelligent, unlike the characters in The Taking of Deborah Logan, rarely do the leads in Flatliners attempt to use science, or their training, to find a solution to the problems they face, instead behaving much like the stereotypes found in other genre films.

Though the always entertaining Kiefer Sutherland (who deserved a much larger role) has a cameo, don't mistake this as a sequel – this feature is in fact a remake, though it is disappointing we didn't get to see Sutherland's Nelson again after all these years.

Much like in the original, the characters begin to realise the consequences of travelling to the other side. It is during these moments, when the film fully embraces its dark material, that Flatliners is at its best. The music adds to the already well developed spooky atmosphere, and the performances of the cast further heighten the sense of dread. Though occasionally predictable, the feature has its share of unexpected scares, the chase sequences being very gripping.

Like the original, characters find themselves pursued by their 'sins', though the secrets the characters have been harbouring are rarely provided the required depth. Despite flirting briefly with the supernatural, the film pulls on this string only once, which was quite disappointing, the film rarely attempting to stray from the original. Though the original shone a flashlight on bullying, racism, sexism and betrayal, the remake is often centred around the competitiveness of the medical profession, which joins each of the characters together.

As the film progresses, the confrontation between the characters and their 'sins' becomes progressively worse, been far more malicious than what was experienced in the original. Though the film appears to be set for an exciting climax, it is here that the movie appears to run out of steam, and instead rushes towards a happy ending that does not do the film justice.

Flatliners is never boring, capturing the fun lives of the up and coming professionals of tomorrow, and the horror of when things go terribly wrong. The latter however is not given the depth it deserves, and coupled with its weak conclusion, the richness of the films potential goes largely untouched.

The movies have depicted the hereafter in varied ways over the years. From the bleached white warehouses of Powell and Pressburger's "A Matter of Life and Death" in 1946 and Warren Beatty's "Heaven Can Wait" in 1978 to – for me – the peak of the game: Vincent Ward's mawkish but gorgeously rendered oil-paint version of heaven in 1998's "What Dreams May Come". Joel Schmacher's 1990's "Flatliners" saw a set of "brat pack" movie names of the day (including Kevin Bacon, Julia Roberts, William Baldwin and Kiefer Sutherland) as experimenting trainee doctors, cheating death to experience the afterlife and getting more than they bargained for. The depictions of the afterlife were unmemorable: in that I don't remember them much! (I think there was some sort of spooky tree involved, but that's about it!)

But the concept was sufficiently enticing – who isn't a little bit intrigued by the question of "what's beyond"? – that Cross Creek Pictures thought it worthy of dusting off and giving it another outing in pursuit of dirty lucre. But unfortunately this offering adds little to the property's reputation.

In this version, the lead role is headed up by Ellen Page ("Inception") who is a great actress… too good for this stuff. Also in that category is Diego Luna, who really made an impact in "Rogue One" but here has little to work with in terms of backstory. The remaining three doctors – Nina Dobrev as "the sexy one"; James Norton ("War and Peace") as "the posh boy" and Kiersey Clemons as the "cute but repressed one", all have even less backstory and struggle to make a great impact.

Also putting in an appearance, as the one link from the original film, is Kiefer Sutherland as a senior member of the teaching staff. But he's not playing the same character (that WOULD have been a bloody miracle!) and although Sutherland adds gravitas he really is given criminally little to do. What was director Niels Arden Oplev ("The Girl with the Dragon Tattoo") thinking?

In terms of the story, it's pretty much a re-hash of Peter Filardi's original, with Ben Ripley ("Source Code") adding a few minor tweaks to the screenplay to update it for the current generation. But I will levy the same criticism of this film as I levied at the recent Stephen King adaptation of "It": for horror to work well it need to obey some decent 'rules of physics' and although most of the scenes work (since a lot of the "action" is sensibly based inside the character's heads) there are the occasional linkages to the 'real world' that generate a "WTF???" response. A seemingly indestructible Mini car (which is also clearly untraceable by the police!) and a knife incident at the dockside are two cases in point.

Is there anything good to say about this film? Well, there are certainly a few tense moments that make the hairs on your neck at least start to stand to attention. But these are few and far between, amongst a sea of movie 'meh'. It's certainly not going to be the worst film I see this year, since at least I wasn't completely bored for the two hours. But I won't remember this one in a few weeks. As a summary in the form of a "Black Adder" quote, it's all a bit like a broken pencil….. pointless.

(For the graphical version of this review, please visit bob-the-movie- man.com. Thanks.)

The first half of this movie was great - the premise was great, and the diverse cast set it apart from other "afterlife" type films. However, moving into the second half, things got very muddled. It seems that the director didn't know exactly which direction to go in, so he went in all of them. It was very anti-climatic, and also relied on cheap jump- scares to drive the film. Quite disappointing as it had great potential.

I read reviews on this movie and nearly did not watch it as some were so bad. But I thought I would give it a go as its peoples opinion.

First off it had some great touches like Kiefer Sutherland being in there like the fist movie but this time not one of the main characters but one of the main Characters did use his line "Its a good day to die" which was a nice touch to

On the whole the movie was just what I expected and very similar to the first movie so if you have seen that one then you will like this. I have no idea what all the hate was about and I actually waited for it to go down hill halfway through as some said but it never did and built up the tension nicely and with a nice clear ending and no silly cheap shock gimmicks at the end like some movies like this love doing these days.

Give it a go and don't believe the reviews on here. Try for yourself you might just enjoy it as I did

In 1990, Joel Schumacher directed the unforgettable "Flatliners", a original horror film with Kiefer Sutherland, Kevin Bacon, Julia Roberts., William Baldwin and Oliver Platt. The remake directed by Danish director Niels Arden Oplev has nothing new in he story. The cast is weaker with the awful and unexpressive Kiersey Clemons in one of the lead roles and the screenplay is corny. The cameo of Kiefer Sutherland is probably the greatest joke in this forgettable and unnecessary remake. My vote is five.

Title (Brazil): Not Available