Over the long rich career of director Clint Eastwood himself every now and then lost one or another total failure. Even in his later phase, since "Unforgiven" , "Perfect World" or "The Bridges of Madison County" in a revisionist character between supply and reconnaissance almost a feat after another seemed to produce, he came back with stories of moral grandeur or historical sentiment and again clearly wrong. But sometimes even in their ambiguous circumstances invite Eastwood's films still to discover. After "Invictus" , his cuddly version of the South African rugby summer dream to Nelson Mandela, the mystery drama "Hereafter" is now the second collaboration of the director with Matt Damon - and thus Unfortunately, the second failed Eastwood film in a row. This is due less to his main character, who is now in the so-called character specialist arrived, and his baby fat rolls, fortunately, outgrown, rather than at Eastwood, which here are obviously the kitsch cows went through. And from the unhappy told History that divides its sentimentalities rationed to three strands.
The first is about a French TV journalist (Cecile De France), which is only just survived a tsunami and devastated by their near-death experience of visions from the beyond. In another action segment is about the passion of a young boy from London who is following the tragic accidental death of his twin brother wants nothing more than to once again connect with him in contact. The third narrative ultimately leads to San Francisco and thus to the central character in the film, the medium George (Matt Damon). He has the ability to deceased People see and talk to them to understand his gift but a curse from which it is to clear himself.
What follows is the mental wait to when and how the three independent parts of the story cross and add to a whole will be. Apart from the fact that the three figures that would make probably not coincidentally a good family nucleus, except for their special but different relation to mortality and the question of life after death is not necessarily connected to each other, they separate also add some borders of each other . As Eastwood ultimately with the support of the father random plots brings together, sets the overall silliness of the movie on the crown. "Hereafter" is formulated a little pointed, the issue of Eastwood "The Lovely Bones" . Without pomp, without story-telling, without the last step into a mega-trash, but the quasi-intellectual, powered down version of the sauce Beyond by Peter Jackson. Eastwood obviously has different ideas of belief in the supernatural, it is limited to short alienated insights into the netherworld, the story is not expansive esoteric, but it turned in to the contrary, slow and elegant to the formal threshold of pain, and takes an eternity to bring its parallel plot lines in a sensitive term context.
had a different director staged as Eastwood such a banal movie about faith and fate, loss and grief and longing, such as M. Night Shyamalan, but it makes such issues could be far issued, meaning pregnant and negotiate of course fantastic, would be about collective panned the film critics are probably the Clock. But Eastwood is a label and this label can also be the largest carnival nonsense sell reasonably serious. is in principle against the courage of the director for deliberate kitsch nothing objectionable in "Million Dollar Baby" has a moral, ethical and religious reference works great - but here, as melancholy mystery-drama, it has the appearance of a half-digested Genremahls. saturated by themselves.
Perhaps Eastwood, who even dares the proud age of 80 years, is still in logistically complex projects, working almost without interruption and to tell different stories, has yet stylish reorient again a little. His own him, but gradually redundant design element - the typical semi-shade, the low light sets, the minute Pianoklimpereien that emphasizes just depressing - inevitably degenerate slowly stitch. The Eastwood typically considered published, thoughtful tone curdles at least in the natural context of this film here for the unintentionally comic. The great solace-giving drama at stake in "Hereafter" actually is sung with seemingly subtle nuances that just as - proved loudly in a hushed voice recited conventional wisdom - no contradiction. And linked in the face of ambiguous fantasy wrap, with the Eastwood story of the savior human stories told seem, then, above all the references to real political acts of terrorism such as the London subway attack, or natural disasters like the tsunami in Thailand, more or less tasteless - especially by a strangely staged as a blockbuster show first half hour, in relation to rest of the film does more than strange.
30% - published by: gamona
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