Hereafter (2010) Poster

Hereafter (2010)

  • Rate: 6.6/10 total 44,459 votes 
  • Genre: Drama | Fantasy
  • Release Date: 22 October 2010 (USA)
  • Runtime: 129 min
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Hereafter (2010)


Hereafter 2010tt1212419.jpg poster

  • IMDb page: Hereafter (2010)
  • Rate: 6.6/10 total 44,459 votes 
  • Genre: Drama | Fantasy
  • Release Date: 22 October 2010 (USA)
  • Runtime: 129 min
  • Filming Location: Alexandra Palace, Alexandra Palace Way, Muswell Hill, London, England, UK
  • Budget: $50,000,000(estimated)
  • Gross: $103,800,000(Worldwide)
  • Director: Clint Eastwood
  • Stars: Matt Damon, Cécile De France and Bryce Dallas Howard
  • Original Music By: Clint Eastwood   
  • Soundtrack: Piano Concerto #2
  • Sound Mix: Dolby Digital | DTS | SDDS
  • Plot Keyword: Afterlife | France | Death | Near Death Experience | Charlatan

Writing Credits By:

  • Peter Morgan (written by)

Known Trivia

  • Filming shut down for a month in December 2009, as Matt Damon was filming The Adjustment Bureau.
  • In a February 2010 interview with the UK’s ‘Daily Telegraph’, Clint Eastwood described “Hereafter” as “…three different stories with people who have gone through some sort of stressful time and it’s about how they sort of converge together. Much like a lot of French movies have been in the past, where the stories kind of converge together, and destiny drives each person towards the other.”
  • Supporting actor Sarah Jane O’Neill (Rehab Patient) claims to be a real-life psychic and a world renowned Paranormal Investigator.
  • One of the few films executive produced by Steven Spielberg that has neither an Amblin Entertainment or DreamWorks Pictures symbol in the “Hereafter” ads representing his involvement. (The Amblin logo does appear at the end of the film itself.)
  • Several biographies describe how Clint Eastwood was stranded offshore in the ocean several days after his Navy training plane crashed. The experience is probably what helped him film the tsunami scene in Hereafter.
  • Shipped to theaters under the title “Heaven’s Playground”.
  • The outside scenes of the London Underground feature Liverpool St Station which is at the eastern edge of the City of London, with the signage digitally altered to make it appear to be Charing Cross. Charing Cross actually has only one above-ground entrance to the tube network, on Trafalgar Square just across from Nelson’s Column.
  • The trailer for the film features the song Lullaby performed by Sia Furler – written by Samuel Dixon and Sia Furler
  • The movie was pulled from theaters in Japan after the devastating earthquake and tsunami that hit in March 2011.
  • The restaurant in which Thierry Neuvic and C├ęcile De France have dinner is Sanderens, the restaurant of chef Alain Sanderens, who became a sensation when he relinquished his 3 stars and reopened the prestigious Lucas Carton under his own name – and with a more affordable menu. Since then, the place has regained 2 stars.

Goofs: Revealing mistakes: When Marcus is watching YouTube videos, the two videos he clicks on show the same number of views as well as the same video description.

Plot: A drama centered on three people — a blue-collar American, a French journalist and a London school boy — who are touched by death in different ways. Full summary »  »

Story: A drama centered on three people who are haunted by mortality in different ways. George (Damon) is a blue-collar American who has a special connection to the afterlife. On the other side of the world, Marie (de France), a French journalist, has a near-death experience that shakes her reality. And when Marcus (Frankie/George McLaren), a London schoolboy, loses the person closest to him, he desperately needs answers. Each on a path in search of the truth, their lives will intersect, forever changed by what they believe might-or must-exist in the hereafter.Written by Warner Bros. Pictures  

FullCast & Crew

Produced By:

  • John Bernard known as line producer: France
  • Clint Eastwood known as producer
  • Kathleen Kennedy known as producer
  • Robert Lorenz known as producer
  • Frank Marshall known as executive producer
  • Tim Moore known as executive producer
  • Peter Morgan known as executive producer
  • Steven Spielberg known as executive producer

FullCast & Crew:

  • Cécile De France known as Marie Lelay
  • Thierry Neuvic known as Didier
  • Cyndi Mayo Davis known as Island Hotel Clerk
  • Lisa Griffiths known as Stall Owner
  • Jessica Griffiths known as Island Girl
  • Ferguson Reid known as Rescuer
  • Derek Sakakura known as Rescuer
  • Jay Mohr known as Billy
  • Richard Kind known as Christos
  • Matt Damon known as George Lonegan
  • Charlie Creed-Miles known as Photographer
  • Frankie McLaren known as Marcus / Jason
  • George McLaren known as Marcus / Jason
  • Lyndsey Marshal known as Jackie
  • Rebekah Staton known as Social Worker
  • Declan Conlon known as Social Worker
  • Marcus Boyea known as Teenager
  • Franz Drameh known as Teenager
  • Tex Jacks known as Teenager
  • Taylor Doherty known as Teenager
  • Mylène Jampanoï known as Reporter Jasmine (as Myléne Jampanoì)
  • Stéphane Freiss known as Guillaume Belcher (as Stephane Freiss)
  • Laurent Bateau known as TV Producer
  • Calum Grant known as Factory Worker
  • Steve Schirripa known as Cooking Teacher 'Carlo' (as Steven R. Schirripa)
  • Joe Bellan known as Tony
  • Bryce Dallas Howard known as Melanie
  • Jenifer Lewis known as Candace
  • Tom Beard known as Priest
  • Andy Gathergood known as Jackie's Friend
  • Helen Elizabeth known as Jackie's Friend
  • Jean-Yves Berteloot known as Publishing Executive Michael
  • Niamh Cusack known as Foster Mother
  • George Costigan known as Foster Father
  • Claire Price known as Marcus' Teacher
  • Surinder Duhra known as Islamic Teacher
  • Sean Buckley known as Dr. Meredith
  • Audrey Brisson known as Hospice Receptionist
  • Jess Murphy known as Dying Woman
  • Michael Cuckson known as Hospice Husband
  • Jennifer Thorne known as Hospice Mother
  • Barry Martin known as Hospice Father
  • Marthe Keller known as Dr. Rousseau
  • Charlie Holliday known as Union Rep
  • John Nielsen known as Factory Supervisor
  • Anthony Allgood known as Visitor
  • Mathew Baynton known as College Receptionist
  • Pearce Quigley known as Channeler
  • Paul Antony-Barber known as Nigel
  • Meg Wynn Owen known as Mirror Lady (as Meg Wynn-Owen)
  • Selina Cadell known as Mrs. Joyce
  • Tom Price known as Man
  • Céline Sallette known as Secretary (as Celine Sallette)
  • Celia Shuman known as Neighbor
  • Joanna Croll known as Tour Guide
  • Jack Bence known as Ricky
  • Derek Jacobi known as Himself
  • Tim Fitzhigham known as Bearded Author
  • Chloe Bale known as Hotel Receptionist
  • Leah Stoltz known as Cooking Class Student
  • Andy Arness known as Management Rep. (uncredited)
  • Philippe Badreau known as Rescuer on Roof (uncredited)
  • Fileena Bahris known as Tsunami Survivor (uncredited)
  • Hélène Cardona known as Angel (voice) (uncredited)
  • Cabran E. Chamberlain known as Union Rep (uncredited)
  • Sam Creed known as Book Author (uncredited)
  • Fiona Dwyer known as Voice (uncredited)
  • Eric Geynes known as Jacques (uncredited)
  • Mitch Hill known as Book show attendee (uncredited)
  • Tim Lawes known as Dickens house tourist #1 (uncredited)
  • Carl Marino known as Airport Couple (uncredited)
  • Ilona Marino known as Airport Couple (uncredited)
  • Sarah Jane O'Neill known as Drug Addict (uncredited)
  • Ajani Perkins known as Pool Player (uncredited)
  • Monique Soltani known as Cooking Student (uncredited)
  • Brian Vowell known as Airport Traveller (uncredited)
  • Paul Warren known as Dying Hospital Patient (uncredited)
  • James D. Weston II known as Presidio Jogger (uncredited)



Supporting Department

Makeup Department:
  • Steven E. Anderson known as assistant makeup artist: San Francisco
  • Christine Beveridge known as makeup artist: Mr. Damon (as Chrissie Beveridge)
  • Patricia Dehaney-Le May known as assistant hair stylist: San Francisco (as Patricia Dehaney)
  • Paul Engelen known as makeup department head
  • Kay Georgiou known as hair stylist: Mr. Damon
  • Colin Jamison known as hair department head
  • Jan Jamison known as assistant hair stylist: London
  • Sophia Knight known as crowd hair stylist
  • Melissa Lackersteen known as assistant makeup artist: London
  • Isabelle Saintive known as key makeup artist
  • Frédérique Arguello known as hair stylist (uncredited)
  • Holli Doherty known as hair assistant (uncredited)
  • Claire Matthews known as makeup artist: dailies (uncredited)
  • Isabelle Saintive known as makeup artist (uncredited)
  • Aya Yabuuchi known as makeup artist (uncredited)

Art Department:

  • Scott M. Anderson known as assistant property master
  • Ken Booker known as set dresser: San Francisco (as Kenny K. Booker)
  • Alex Boswell known as on-set dresser: London
  • Tom Brown known as supervising art director: London
  • Lisa Chugg known as set decorator: London
  • Dean Clegg known as art director: London
  • James Fernandez known as on-set dresser: San Francisco (as James Daniel Fernandez)
  • Katie Gabriel known as art department coordinator: London
  • Barry Gibbs known as property master: London
  • Hayley Gibbs known as property coordinator: London
  • Chris Kitisakkul known as graphic designer: London
  • Harry Metcalfe known as construction manager: London
  • John Micheletos known as leadman: San Francisco
  • Michael Muscarella known as construction coordinator: San Francisco (as Michael A. Muscarella)
  • Antonio Nogueira known as set dresser
  • Enrico Paronelli known as paint supervisor: San Francisco
  • Peter Mitchell Rubin known as senior illustrator (as Peter Rubin)
  • Gretchen Scharfenberg known as set dresser: San Francisco
  • Anne Seibel known as art director: France
  • Michael Sexton known as property master (as Mike Sexton)
  • Benoît Tetelin known as props buyer: France
  • Frank Walsh known as supervising art director: London
  • Laura Whitehead known as art department coordinator (as Laura K. Whitehead)
  • Krissi Williamson known as production buyer: London
  • Jerry Wiskerson known as set dresser: San Francisco
  • Samudrika Arora known as art department production assistant (uncredited)
  • Matthew Broderick known as stand-by props: London (uncredited)
  • Christopher Carlson known as assistant set decorator (uncredited)
  • Graham Caulfield known as drapesmaster: London (uncredited)
  • Roy Chapman known as chargehand dressing prop: London (uncredited)
  • Hélène Dubreuil known as set decorator: France (uncredited)
  • Hélène Dubreuil known as set designer (uncredited)
  • Colin Ellis known as dressing props (uncredited)
  • Kate Fettis known as set dresser (uncredited)
  • Sara Gardner-Gail known as buyer (uncredited)
  • Michael E. Goldman known as assistant art director (uncredited)
  • Rohan Harris known as paintings (uncredited)
  • Jason Hopperton known as dressings props (uncredited)
  • Josh Jones known as stand-by carpenter (uncredited)
  • Jordan Jordanov known as storyboard artist (uncredited)
  • David Ladish known as set dresser (uncredited)
  • Steven Ladish known as set dresser (uncredited)
  • Andrew Lewis known as assistant prop master (uncredited)
  • John Lister known as set dresser (uncredited)
  • James R. Lord known as propmaker (uncredited)
  • Jared A.J. Muscarella known as carpenter (uncredited)
  • Hadjila Nezlioui known as set buyer (uncredited)
  • Darryl Paterson known as chargehand dressing prop: UK (uncredited)
  • Carl Peters known as propman (uncredited)
  • Edward J. Protiva known as gang boss (uncredited)
  • Adee Serrao known as graphic designer (uncredited)
  • Robert Silcock known as construction foreman (uncredited)
  • Brett C. Smith known as leadman (uncredited)
  • James M. Spencer known as art department assistant (uncredited)
  • Rebecca Thomas known as assistant prop buyer (uncredited)
  • Kevin Wheeler known as prop storeman: London (uncredited)
  • Liloa Wong known as lead greensman: Maui (uncredited)
  • Matt Wynne known as concept artist (uncredited)




Production Companies:

  • Warner Bros. Pictures (presents)
  • Kennedy/Marshall Company, The (as Kennedy/Marshall)
  • Malpaso Productions (as Malpaso)
  • Amblin Entertainment

Other Companies:

  • BT Industrial Supply  expendables
  • Casting Collective  extras casting
  • Chapman/Leonard Studio Equipment  camera cranes
  • Chapman/Leonard Studio Equipment  camera dollies
  • Chapman/Leonard Studio Equipment  hydrascope telescoping crane arm
  • Compuhire  computer playback (UK)
  • DTC Grip & Electric  grip and lighting equipment
  • De Lane Lea  ADR recording
  • Dolby Laboratories  sound mix
  • First Unit Caterers  catering: London
  • Fujifilm – Motion Picture Film  motion picture film supplied by
  • Gallagher Entertainment  insurance
  • Hawaii Film Office  the producers wish to thank
  • Hawaii Media  grip and lighting equipment
  • Hollywood Trucks  entertainment transportation
  • Movie Lot, The  unit security
  • Movie Movers  star trailers
  • PFJ Productions  titles
  • Panalux  lighting equipment
  • Peninsula Films  production services: France
  • Red Chutney  catering: London
  • Road Rebel  production travel
  • Sequoia Illumination  lighting equipment
  • Technicolor  digital intermediate
  • Translux  facilities
  • Warner Bros. Motion Picture Imaging  Dailies
  • WaterTower Music  score album


  • Columbia TriStar Warner Filmes de Portugal (2011) (Portugal) (theatrical)
  • Sandrew Metronome Distribution Sverige AB (2011) (Sweden) (theatrical)
  • Village Films (2011) (Greece) (theatrical)
  • Warner Bros. Entertainment (2010) (Canada) (theatrical)
  • Warner Bros. Pictures (2010) (USA) (theatrical)
  • Warner Bros. (2011) (Argentina) (theatrical)
  • Warner Bros. (2011) (Austria) (theatrical)
  • Warner Bros. (2011) (Belgium) (theatrical)
  • Warner Bros. (2011) (France) (theatrical)
  • Warner Bros. (2011) (Japan) (theatrical)
  • Warner Bros. (2011) (Netherlands) (theatrical)
  • Warner Bros. (2011) (Singapore) (theatrical)
  • Audio Visual Entertainment (2011) (Greece) (DVD) (blu-ray)
  • Home Box Office (HBO) (2011) (USA) (TV)
  • Warner Home Video (2011) (Germany) (DVD)
  • Warner Home Video (2011) (Netherlands) (DVD)
  • Warner Home Video (2011) (Netherlands) (DVD) (Blu-ray)
  • Warner Home Video (2011) (Sweden) (DVD)
  • Warner Home Video (2011) (Sweden) (DVD) (Blu-ray)
  • Warner Home Video (2011) (USA) (DVD)
  • Warner Home Video (2011) (USA) (DVD) (Blu-ray)



Other Stuff

Special Effects:

  • ScanlineVFX (visual effects)
  • Technicolor (opticals)
  • The Base Studio
  • The Base Studio (visual effects)
  • With A Twist Studio

Visual Effects by:

  • Carlos Anguiano known as character rigging supervisor: Scanline VFX
  • Derek Blume known as digital artist: Scanline VFX
  • Markus Boos known as digital artist: Scanline VFX
  • Jamie Bowers known as digital artist: Scanline VFX
  • Mike Bozulich known as compositor: Scanline VFX
  • Shannan Burkley known as matte painter
  • Sue Campbell known as digital artist: Scanline VFX
  • Charley Carlat known as digital artist: Scanline VFX
  • Deborah Carlson known as digital effects supervisor: Scanline VFX
  • Nick Crew known as lead visual effects artist: Scanine VFX
  • Nick Damico known as digital artist: Scanline VFX
  • James Dornoff known as visual effects production manager: Scanline VFX
  • Robert Evans known as visual effects producer: Scanline VFX
  • Joe Farrell known as compositing supervisor: Scanline VFX
  • Chad Finnerty known as visual effects animation supervisor: Scanline VFX
  • Thomas Ganshorn known as technical support: Scanline VFX
  • Christoph Gaudl known as digital artist: Scanline VFX
  • Mitchell J. Glaser known as visual effects editor: Scanline VFX (as Mitch Glaser)
  • Joanna N. Goslicka known as digital artist: Scanline VFX (as Joanna Goslicka)
  • Holly Gosnell known as lead visual effects data wrangler: London
  • Bryan Grill known as visual effects supervisor: Scanline VFX
  • David Hackett known as technical support: Scanline VFX
  • Markus Hagemeier known as i/o coordinator: ScanlineVFX
  • Jamie Hallett known as compositor: Scanline VFX
  • Ian A. Harris known as compositor: Scanline VFX
  • Paul Hudson known as technical support: Scanline VFX
  • Melissa Huerta known as digital artist: Scanline VFX
  • Apollo S.J. Kim known as digital artist: Scanline VFX (as Apollo Kim)
  • Jeff Kim known as compositor: Scanline VFX
  • Joel Kittle known as digital artist: Scanline VFX
  • Claudia Knorr known as lead visual effects artist: Scanline VFX
  • Joshua LaCross known as compositor: Scanline VFX
  • Chris LeDoux known as compositor: Scanline VFX
  • Lukas Lepicovsky known as lead visual effects artist: Scanline VFX
  • Noll Linsangan known as compositor: Scanline VFX
  • Christine Lo known as compositor: Scanline VFX
  • Carl Loeffler known as technical support: Scanline VFX
  • Lap Van Luu known as technical support: Scanline VFX
  • Joe Mangione known as digital artist: Scanline VFX
  • Toby Watson Martin known as digital artist: Scanline VFX (as Toby Watson)
  • Joel Román Mendías known as visual effects executive producer: Scanline VFX (as Joel Mendias)
  • Justin Mijal known as modeling lead: Scanline VFX
  • Scott Miller known as technical support: Scanline VFX
  • Justin Mitchell known as digital artist: Scanline VFX
  • Rohini Montenegro known as compositor: Scanline VFX (as Rohini Una Montenegro)
  • Michael Owens known as designer: tsunami sequence
  • Michael Owens known as visual effects supervisor
  • Christine Peterson known as compositor: Scanline VFX
  • Brian Peyatt known as technical support: Scanline VFX
  • Oliver Pilarski known as technical support: Scanline VFX
  • Danielle Plantec known as cg supervisor: Scanline VFX
  • Liz Radley known as video & computer graphics supervisor
  • Shinichi Rembutsu known as digital artist: Scanline VFX
  • Say Rintharamy known as lead visual effects artist: Scanline VFX
  • Joe Scarr known as digital artist: Scanline VFX
  • Nabil Schiantarelli known as compositor: Scanline VFX
  • Walter Schulz known as digital artist: Scanline VFX
  • Jaeil Seo known as digital artist: Scanline VFX
  • Lisa Spence known as digital effects producer: Scanlline VFX (as Lisa K. Spence)
  • Greg Szafranski known as digital artist: Scanline VFX
  • Nils Thuerey known as technical support: Scanline VFX
  • Nils Thuerey known as technical support: Scanline VFX
  • Stefano Trivelli known as compositor: Scanline VFX
  • Stephan Trojansky known as visual effects supervisor: Scanline VFX
  • Greg Tsadilas known as lighting lead visual effects artist: Scanline VFX
  • Taylor Tulip-Close known as visual effects texture photographer: London
  • Renee Ward known as visual effects production manager: Scanline VFX
  • Michael Zavala known as visual effects production manager: Scanline VFX
  • Christian Zeiler known as digital artist: Scanline VFX (as Christian Zeiller)
  • Christian Zurcher known as digital effects: Scanline VFX
  • Ben Aghdami known as additional visual effects data wrangler (uncredited)
  • Laurie Blavin known as staffing manager: Scanline VFX (uncredited)
  • Magno Borgo known as rotoscope artist: The Base Studio (uncredited)
  • Jordan Freda known as coordinator: The Base Studio (uncredited)
  • Marc Herzer known as modelling artist: Scanline VFX (uncredited)
  • Josiah Holmes Howison known as senior digital compositor (uncredited)
  • Craig Kief known as visual effects director of photography (uncredited)
  • James G.H. Knight known as motion capture (uncredited)
  • Ken Kuykendall known as visual effects production assistant (uncredited)
  • Gary Laurie known as matchmove technical director: Scanline VFX (uncredited)
  • James Orlik known as animator: Giant Studios (uncredited)
  • James Orlik known as motion editor: Giant Studios (uncredited)
  • James Pina known as rotoscope artist: The Base Studio (uncredited)
  • Anthony Pintor known as motion editor/animator (uncredited)
  • Dave Preciado known as motion editor (uncredited)
  • Grover Richardson known as roto supervisor: The Base Studio (uncredited)
  • Rick Rische known as matte artist: Scanline VFX (uncredited)
  • Clancy Silver known as digital compositor (uncredited)
  • Robert Snyder known as on-set data wrangler (uncredited)
  • Eddie Soria known as senior rotoscope and paint artist (uncredited)
  • Scott Squires known as additional on-set supervisor (uncredited)
  • Wilson Tang known as digital restoration (uncredited)
  • Radley Teruel known as digital artist (uncredited)
  • Micole Toyloy known as digital artist (uncredited)
  • Kevin Wang known as motion capture animator (uncredited)
  • Kevin Wang known as motion capture tracker (uncredited)
  • Kevin Wang known as motion editor (uncredited)

Release Date:

  • Canada 12 September 2010 (Toronto International Film Festival) (premiere)
  • USA 10 October 2010 (New York Film Festival)
  • USA 14 October 2010 (Chicago International Film Festival)
  • Canada 15 October 2010 (Toronto)
  • USA 15 October 2010 (limited)
  • Canada 22 October 2010
  • USA 22 October 2010
  • Brazil 27 November 2010 (Búzios Cine Festival)
  • Italy 4 December 2010 (Turin Film Festival)
  • Austria January 2011
  • Argentina 4 January 2011 (Buenos Aires) (premiere)
  • Italy 5 January 2011
  • Argentina 6 January 2011
  • Greece 6 January 2011
  • Peru 6 January 2011
  • Brazil 7 January 2011
  • Mexico 7 January 2011
  • Israel 13 January 2011
  • Finland 14 January 2011
  • Iceland 14 January 2011
  • Norway 14 January 2011
  • Panama 14 January 2011
  • Venezuela 14 January 2011
  • Belgium 19 January 2011
  • France 19 January 2011
  • Philippines 19 January 2011
  • Hong Kong 20 January 2011
  • Portugal 20 January 2011
  • Serbia 20 January 2011
  • Singapore 20 January 2011
  • Slovenia 20 January 2011
  • Spain 21 January 2011
  • Germany 27 January 2011
  • Ireland 28 January 2011
  • UK 28 January 2011
  • Denmark 3 February 2011
  • Sweden 11 February 2011
  • Japan 19 February 2011
  • Poland 4 March 2011
  • Netherlands 10 March 2011
  • Czech Republic 28 April 2011
  • Hungary 25 May 2011 (DVD premiere)

MPAA: Rated PG-13 for mature thematic elements including disturbing disaster and accident images, and for brief strong language



Filmography links and data courtesy of The Internet Movie Database

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Posted on March 29, 2012 by Harry in Movies | Tags: , , .


  1. bobt145 from United States
    29 Mar 2012, 10:51 pm

    On the way home from seeing this terrific movie, I stopped at a light,a few cars in front waiting to turn right. Around us, the sun had justset, a full white moon was high and the reflections of brake lightsbounced off gas stations and car dealerships.

    What an amazing world we live in. There is so much in the five milesbetween my house and the theater where I saw the movie that I couldnever experience it all. Moments arrive and disappear and the thepeople shift, move, appear and disappear.

    I think most of us need some kind of assurance that it all goes onforever, that our open windows aren't just blacked over and sealed atdeath.

    Clint Eastwood has made a quiet, reflective, thoughtful film on thiscondition, this need for forever. It's not a flashy paranormal probe ofghosts and goblins, spirits and such.

    Taking three central lives we see our need for a hereafter from aFrench woman who has experienced something before being revived, from atwin boy who has lost his brother and from a lonely man who seems ableto capture something from beyond this life. Or perhaps he just capturessomething from those who come to him.

    Cecile De France is stunning as a television reporter who touches herown death and returns. Frankie (or is it George) McLaren is good as theyoung boy. And Matt Damon's restrained performance is a revelation.

    Eastwood has the assured hand that allows long segments in French withEnglish subtitles and a juncture with two disasters and such atouchy-feely subject, and yet it works. Quietly. Thoughtfully.

    He also has the good sense to let us draw our own conclusions.

  2. KateBeth from Houston, TX, United States
    29 Mar 2012, 10:51 pm

    The viewer doesn't know quite what to expect when sitting down to watch"Hereafter". I went in thinking it would be something a bit spooky, ormind-bending like "Inception". What I experienced was even morefascinating – and thought provoking – leading me to ask more questionsthan I would have answers.

    "Hereafter" presents you with fascinating characters – literally fromthe first few minutes of the film, you find yourself both riveted andsquirming to look away. Scenes from a vicious tsunami that takes thelives of hundreds of thousands leaves the viewer feeling shocked andempty — but what follows in the aftermath is what is truly astounding.

    The acting in this movie is absolutely superb. From Matt Damon'sportrayal of George – a man who has abandoned his psychic gift (or whathe considers to be a curse) for a more simple and obscure life as afactory worker… to Cecile De France's talented portrayal of Marie, aFrench journalist who experiences a tragedy of such enormity you wonderhow she will ever get back to living a 'normal' life… to young Georgeand Frankie McLaren's work as the adorable Marcus and Jason – Britishtwins who must contend with their mother's drug abuse and, later, atragedy that will tear them apart – the viewer is left to feel as ifthey are literally part of the story. You rally for the characters -and yearn to see how their fate will unfold. The intersection of all oftheir lives is what is so fascinating.

    While I went into "Hereafter" expecting something a bit obscure andmind-bending, I was pleasantly surprised to see that this film is adrama that delves into not only the topic of life after death – butlife itself. Clint Eastwood does an amazing job at giving us a lookinto the peace and mystery that awaits us on the other side… but alsothe joy and beauty of what is right in front of us.

    "Hereafter" was a pleasant surprise. While some questions remain at theend of the film, I feel it is a perfect ending to a film about a topicas mysterious as life after death. At one point in the film, ThierryNeuvic's character, Didier, makes the comment that if there were lifeafter death, it would have been proved by now. By the end of the film,you realize that the most wonderful and amazing events in life cannotnecessarily be proved – but with enough faith and through fate -everything lines up exactly as it should.

  3. MyNeighborFanboy from United States
    29 Mar 2012, 10:51 pm

    For some bizarre reason, marketers opted to make Clint Eastwood'slatest work look like a rejected script to an M. Night Syamalon moviein its trailers. What with its catastrophic events and plot centricimagery, you'd think Eastwood had made a disaster movie rather thanwhat the reality turns out to be. This is a much more thoughtful filmabout death that examines how living characters deal with theaftereffects. Matt Damon's character, Lonegan, is not a protagonist butone character in a larger ensemble piece. Naturally, it benefitsmarketing to try to isolate this certain aspect of the plot to makethis look like a thriller, but it is a impressionist character piece byall means. Even the psychic aspect is played down, and never trulyexplained.

    What that reality turns out to be is something akin to one of the timecentric French minimalists like Chantal Akerman and Jacques Rivette.While it never of course becomes a four hour movie about householdchores like Jeanne Dielman, it nevertheless is one of the mostjarringly French art-house-like films to ever be released as amainstream American film. Eastwood's decision to leave Peter Morgan'sscript as a rough first draft is likely part of what's drawingcriticism, but this is arguably what makes it so effective as well.Narrative coherence is spurned in favor of genuine CINEMA, peoplebehaving on-screen and showing the effects of great turmoil in everylittle nuance. Eastwood, known for stripping down rewrites to maintaina certain spontaneous quality in his films (and for shooting very fewtakes) saw something in this script that he knew wouldn't make it tothe final draft. This is how it maintains such a minimal quality.

    Of course, such methodology is in tune with French filmmakers likeBresson, a filmmaker who would likely be criticized today for hisdeadpan performances when what he's really doing is drawing attentionto actions rather than performances. Eastwood puts a lot of stock ingesture: hands in particular. Hands are prominently shown whenever acharacter embraces, and they are also the method through which Loneganis able to make contact with the afterlife. He tries to makeconnections through a cooking class, in which he must make use of hishands (and which inevitably leads him to touch the hands of others whenhe wants least to). There's also a generous use of exteriors, with therunning theme of loneliness in crowded locations which anybody whoseexperienced such trauma (or even lesser traumas) can relate to. Itsounds like Eastwood is employing the dreaded preference of "things" to"people," but in reality this is a perfect melding of characters totheir environment.

    None of this is the kind of post-Elia Kazan acting our country is usedto, but each of the actors do a remarkable job in communicating in thisway. Damon gives the finest performance of his career, and each of thesupporting cast is remarkable as well in the way they REACT, ratherthan act. A jarring change for the star of Gran Torino, perhaps, butone which works for the material.

    And that, I think, is why such mixed reactions come out of those whoview this film. Eastwood is not making a heightened film about death,but an understated (despite its moments of sensationalism, which serveas counterpoint) exploration of how people deal with death. What makesit even more difficult is that, despite an optimistic conclusion, nodefinite resolution is ever reached. We never learn the nature behindLonegan's abilities, we only get hints at how it may have come about.No religious agenda is preached, nor is religion rejected. Such openended filmmaking is vastly beyond even limited releases, and is usuallythe kind of stuff found on the Criterion Collection decades after itscompletion. To have a release like this is astounding, but has likelydoomed the film financially.

    That would be a shame. In a year that has produced solid work rangingfrom Sorkin and Fincher's The Social Network, Martin Scorsese'swoefully underrated Shutter Island, and the hype-driven juggernaut thatwas Inception, I think Hereafter ranks among the very best of the year.I would even go so far as to call it the first bonafide masterpiece ofthe decade. I suspect this places me at odds with many people, some ofwhom have tried to logically argue with me why this was an incompetentfilm (to them, I would explain that film is not meant to be dictated byplot logic, the most superficial aspect of filmmaking at best) but asthis film goes to show, some things just can't be easily explainedaway.

  4. Shoshobe from United States
    29 Mar 2012, 10:51 pm

    This drama is about three lonely people each living in differentcountries whose lives become indelibly connected in an unforseeable,yet touching way. The story centers on Matt Damon, an American, whoapparently has the psychic ability of contacting the recently departed,however, he believes that this "gift" is a "curse" because it rendershim a social outcast. There is also a French woman who has a near deathexperience and a troubled British boy grieving over the loss of a lovedone.

    I am not a firm believer in a hereafter life or psychic abilities, andwhat is great about this movie is that it addresses these issues in anintelligent way without asking the audience to debate their existence.Instead, it focuses on the characters and how these issues affect theirlives. There is nothing cheap or gimmicky about this movie. It simplytells a touching story without being overly sentimental. Clint Eastwooddelivers a great picture and Matt Damon an excellent performance. Theround-out cast deserves a big-hand as well. Keep in mind that this is acharacter drama and, like cooking a good sauce, takes its time todevelop a richness. So if you're the type of person who only respondsto immediate sensory gratification, this movie might not be for you.

  5. David Ferguson ( from Dallas, Texas
    29 Mar 2012, 10:51 pm

    Greetings again from the darkness. One of the advantages to not beingdependent upon movie reviews for food and shelter is that there is noconcern for a superstar holding a grudge against me and my opinions.Make no mistake, director Clint Eastwood is a Hollywood powerhouse andalso one of the most consistently fine filmmakers working today. Still,no one bats a thousand … this is a miss, with barely a swing.

    The film follows three basic stories. The first revolves around GeorgeLonegan (Matt Damon), who seemingly has true psychic abilities. Theproblem is that George does not wish to have anything to do with his"powers". The second involves twin brother, Marcus and Jason, who livewith their druggie mom. Things change quickly when Jason is hit andkilled by a truck and Marcus is taken away while his mom rehabs. Thethird story has Marie LeLay (Cecile De France) as an investigativereporter who gets caught in a tsunami while vacationing and has a "neardeath experience".

    I will not go into detail for any of the three stories other than tosay Jay Mohr plays Damon's money-grubbing brother who wants to take histalent to the big time; the sadness of the surviving twin is tough totake at times as he searches for a connection to his dead brother; andlastly, Marie's near-death brings her closer to life than she ever wasbefore.

    What is most surprising, given the pedigree of Eastwood and writerPeter Morgan (The Queen, Last King of Scotland) is that this movie andeach of these stories are, for lack of a better word, quite boring. Wereally get little insight into any of the characters – other than theoverall sadness each shows regularly. The sub-story with the mostinterest involves a brief encounter with a secret research clinicsporting a Nobel Prize winner. The clinic evidently has much researchand data on this topic.

    As you have already guessed, these three stories intersect near thefilm's end. This is a ploy that is all too common in Hollywood thesedays. I won't give away how it all comes together, but it bordered oneye-rolling. The film does not depend upon the viewer's beliefs orunderstanding, though I personally believe some people do have aheightened sense of awareness and connection. That's not really whatit's about. It's more about sadness, loneliness and the need forpersonal connection while alive.

    As usual, Mr. Eastwood has put together a terrific score. And I willgladly admit that the first 7-10 minutes of the film, including thetsunami were captivating … and I loved the connection with CharlesDickens. That's the best I can offer for the film, and here's hopingEastwood's biopic on J Edgar Hoover brings significantly more interestand entertainment value.

  6. (curiousnyc2001) from East Coast, USA
    29 Mar 2012, 10:51 pm

    It seems to me that the majority of the positive user reviews here onIMDb for Hereafter seem to have some bias for the fact that this moviewas directed by Clint Eastwood (who also provided the music). If youprefer your movie reviews to be based on the movie itself, it would bein your best interest to ignore such reviews because, for the mostpart, they rate the film with way more regard than it deserves.

    As a survivor of trauma, I went to see Hereafter hoping to findsomething that could relate to what I and those like me experience on adaily basis. However the film only slightly begins to some close.Unfortunately it comes up dismally short and that, obviously, was notby design.

    There is no heart in this movie; none. Yes the opening, catastrophic,scene is quite gripping and well executed. However, well before you getto the end, you realize that it was dramatically out of place with therest of the feel of this film. Once the film establishes the definingmoments that sets the three main characters off on this narrativejourney, the rest of the way to the conclusion of the film is looselycomprised of personal experiences that hardly give their protagonistsany depth or emotion. Not to mention that the pacing of and transitionbetween these experiences seems, if anything, random andinconsequential.

    Cécile De France's character seems hardly driven (or affected) by theseverity of her trauma to motivate her subsequent, life altering,actions with any passion. Matt Damon seems detached throughout,bouncing along as emotionless as a tumbleweed until, towards the end ofthe film, when he finally takes the (all to predictable) risk of comingout of his shell. The casting of the McLaren brothers almost comesacross as a ploy. In that I mean, it seems that they decided to castactors lacking talent and emotional range so that it was to beperceived as emotional numbness. However, in most moments when we needto see that they have something more to offer than melancholy, theycome up short. With intonation that seems to be like that of boys beingforced to read for the part of a daisy in the middle school play, theboys mumble their words. Most of the only emotion to be perceived isderived strictly from the visuals and situations their charactersexperience (you'll see).

    These characters' destinies roll down a slope with the incline of adriveway until they reach the curb that is their coming together. Note,this is NOT a spoiler; it is pretty obvious that this is the inevitableoutcome. If showing that people can be made numb after the experienceof something traumatic is the main purpose of this film, then it doesso fairly well. However, with nothing in the way of contrast, this justcomes across as boredom.

    I know it probably seems at this point that I hate this film. I don't.It's a fine AVERAGE movie; a decent escape during the time that itruns. It certainly isn't worthy of the high praise that many of theother reviewers on IMDb have bestowed upon it. It's my hope that myreview balances out the IMDb opinion pool.

    Also, a note to Clint: The music is dismal. Any attempt to make itunderstated and poignant resulted in something that brings up memoriesof cheesy 70's romantic tear-jerkers. You should have forsaken you egoand left it up to someone else.

    See or wait? Wait for the DVD

  7. mtroum-2 from Florida
    29 Mar 2012, 10:51 pm

    An emotional film (bring some hankies) exploring the love of childrenfor their mother, the loss of a loved one, and the near-deathexperiences of the two main characters. The acting is superb,particularly the young McLaren brothers and Cecile DeFrance. I applaudClint Eastwood for taking this risk and creating a solid piece withriveting emotions and a fantastic conclusion. The only leap of faiththat must be taken is the belief that George (Matt Damon) truly hasthis gift/curse since it is the thread that weaves through all hisrelationships. This is truly an enjoyable movie and adds to my beliefthat the greatness of a film is not in the critic's eyes but in yourown. This is the second sleeper movie of the week for me. The first onewas RED…a great, entertaining movie.

  8. lewiskendell from United States
    29 Mar 2012, 10:51 pm

    Hereafter is a slow, quiet study on the effect that death and thedearly departed have on the living. 

    It's not really a ghost story or even a very supernatural movie. Thethree main characters each have felt death's power in different ways intheir life. George (Matt Damon), a man who can contact the deceased,has fled from his abilities because they keep him from having a normallife. Marie (Cecile de France) is a journalist who has a near-deathexperience during a tsunami, and becomes consumed with understandingwhat she saw. And in London, a young British boy is desperate tocontact a lost family member one last time. 

    The three separate stories do eventually connect, but that's not reallywhere the value of Hereafter lies. I can see this film being a sourceof frustration for some viewers eager for a traditional conflict andresolution or character arc, but those things aren't really Eastwood'spriority.The movie doesn't have much of a "point", other than how deathis such an important part of all of our lives, even as it's alsoprobably the most mysterious. 

    I liked it, but I'm hesitant in recommending it. Slow-paced movies likethese need the right audience. It's fairly different from Eastwood'sother movies, and I wouldn't mind seeing him tackle something likethis, again.   

  9. patricjmiller from United States
    29 Mar 2012, 10:51 pm

    The pacing of this film did not bother me. Of course, I am over 50, soI can actually sit still through a slower paced storyline that includesa number of different characters, without something blowing up, orsomeone getting undressed to keep my attention.

    What did bother me, perhaps comes from a unique view from othersreviewing the film. As one who has experienced an NDE, I wasdisappointed with both the flimsy, and undeveloped view of the femalelead's experience, and the ambiguous way in which her story unfolded.

    On one hand, we have a character whose NDE was so life-altering, as todivert her from her primary job as a political reporter, into someonewho writes a book extolling the difficulty in revealing the truth inthe modern media world about the validity of the NDE experience. Thedust jacket on her book, as well as casual references to her research,talk about all of the expert testimony that support the overwhelmingfacts about NDE experiences, and the correlation between science andthe afterlife. And then…the movie tells us nothing.

    The script (or perhaps what was left after Eastwood edited the script)simply glosses over anything substantial in the way of research, exceptto talk about a Nobel laureate who was ridiculed after revealing hisresearch. One line…out of over two and a half hours of script.

    The question to me, is why start the conversation, if you aren't goingto offer even a small slice of the answers? The research is voluminous.Those of us who have experienced an NDE know that it is far more than achemical reaction to the body starting to shut down. Much more.

    But, all we are left with in this movie, is a lead character whodoesn't want to acknowledge his gift, even in the face of those aroundhim who believe in a "hereafter," more than he does.

    Anyone who has experienced an NDE will find this movie sadlyunfulfilling. But perhaps, it will bring many more of us to admit towhat happened, and start a much more meaningful dialogue about thefacts.

    As a few of the younger reviewers mentioned, a vast majority of theaudience was over 50. No doubt many of those there were looking foranswers about the "aferlife," for one reason or another.

    It would have been a great chance to tell the world somethingsubstantial. But in the end the movie was a nice idea, with slowexecution…and painfully unfulfilling.

  10. MonaMulberry from Netherlands
    29 Mar 2012, 10:51 pm

    Clint Eastwood has once again proved himself to be a formidabledirector. The style and structure of storytelling used in Hereafterwill not appeal to a large audience, but something tells me he knewthis all too well but honestly, didn't care and rightfully so. Becauselet's face it, he can afford it and it's certainly a privilege he hasearned. And with Hereafter, it seems that all Mr. Eastwood wants to dois share a story. A very beautiful one at that.

    Hereafter is divided into three story lines, spread over threedifferent countries. We have Matt Damon as a reluctant psychic in theUnited States, Cécile De France who plays a journalist in France and ayoung pair of twin brothers (Frankie and George McLaren) in England.All of these peoples' lives are in one way or another affected bydifferent aspects of death, whether that be a near-death experience orthe passing of someone very dear. Or, in Damons case, the ability toestablish a certain connection with those who are no longer with us.Eastwood has decided on a particularly art house-like approach, which,like I mentioned earlier, will certainly back off a large amount ofpotential viewers. However, I personally very much appreciate hisdecision. He has obviously chosen not to make this some big, hyped-upmonster movie about all things paranormal. Instead, Hereafter dealswith its subject with great integrity and subtlety. Although, despitesaid subtlety, it features a few moments which are, by contrast,incredibly intense and shocking (in a non-scary way). In fact, I wouldeven go so far as to say it is not for the faint of heart, but I meanthat mostly in an emotional sense, rather than a spectacular one. On aside note, I would actually not recommend this film to anyone who has,in any way, shape or form been confronted with the 2004 tsunami, oreven the London terrorist attacks. It might be really confronting, sobe advised.

    I personally think the film's rating of 6.7 is a bit low, but on theother hand I do somewhat understand why this film has not received theappreciation it deserves. Simply put, not everyone (actually, manypeople) will not understand it. It is a small story, for a smallaudience. Also, anyone watching this because they think it's all aboutMatt Damon will be somewhat deceived. I fully understand why they puthis name and picture on the poster, since he is the only big name onthe payroll. But this is really not 'his' film, he just plays a part init. And he does it well, but the rest of the cast actually deserves agreat deal of credit, because they are quite simply phenomenal. And Imean *all* of them. Cécile de France is really impressive, she playsher part with great dignity and empathy. She truly carries every sceneshe's in, and she will definitely do her country proud. Personally, Iwas most affected (both story- and acting wise) by the 'London segment'of the film. The story of the two young brothers is absolutelyheartbreaking, and the McLaren boys do a superb job at translating thisonto the screen. Anyone who doesn't at least feel a shudder of emotionwhen watching their story unfold, well… honestly doesn't have a lotof heart. I refuse to give away any plot points at all, other than whatI already have. This is really the kind of story you just need tosurrender to in order to really appreciate it. The pacing demands somepatience, but if this is your kind of film it really won't be too muchtrouble and you will be greatly rewarded.

    The way the story unfolds (the three-way structure, which doesn't cometogether until the very end), inevitably evokes comparison to 'Babel',but honestly, that one cost me a far greater deal of effort to sitthrough than Hereafter. But that is entirely personal of course, andthe structure is really the only similarity between the two; thestories are completely different. And I also think Hereafter isactually far more accessible than Babel, despite its subject matter.The stories are told with such tenderness that it didn't actuallybother me at all that they were three separate stories which, until theend, had nothing to do with each other. They all intrigued me in theirown personal way.

    Actually, I could go on and on…

    It's been a long time since a film has really touched my heart, butthis one has. I've been thinking about what rating I should give it,but honestly, I can't think of a single reason why I wouldn't give thisfilm a 10. Hereafter is a film of true beauty, a real gem. Which,unfortunately, won't be understood by many people, but who knows…Perhaps someday, its time will come.

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