Metacritic reviews

We can enjoy the suspense of the opening scenes, and some of the drama. The performances are in keeping with the material. But toward the end, when we realize that the entire reality of the film is problematical, there is a certain impatience. It's as if our chain is being yanked.

This is one case where there’s more life in the morgue than out.

The potent imagery never meshes with narrative logic in Agnieszka Wojtowicz-Vosloo's first feature, promising more than it can deliver.

Neeson's performance is so eerie, in a buttoned-down sort of way.

Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.

Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.

Caught in a pretentious no-man’s land between horror and melodrama.

Somewhere in Agnieszka Wojtowicz-Vosloo's awkward debut feature is a macabre and almost quaint Gothic mystery begging to be left alone.

One hates to say it, but after this and "Black Snake Moan," it might be time for the talented actress (Ricci) to keep her clothes on.

A movie as annoying as its oddly punctuated title, After.Life is a misguided and empty-headed attempt at psychological horror that succeeds only at talking the viewer to death.