Tag Archives: acting

What Fight the Panda Syndicate Means to Me.

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By Christopher Pickhardt

Just about ten years ago, in 2006, my best friends and I embarked on a grand creative journey. Out of the blue, we decided to form a production company (Crazy Elk Productions) and produce an independent film called ‘Fight the Panda Syndicate,’ an ambitious dark comic adventure film that consumed the better part of six years of our lives. It was  an amazing creative experience for us that I can look back on with a great sense of accomplishment (as I was heavily involved in its making in the form of co-writer, co-producer, actor and co-editor, among many other hats alongside director Jason J. Dale).

It was a monumental task producing an ambitious project like this on such a shoestring budget, but with that challenge came tremendous rewards. Now that the film is in the can and we are past the film festival submission wormhole, we are actively looking to get the film out into the world; which is a whole other challenge in itself, but one that has greater chances of success than it did just a few short years ago, when you consider the advent of the digital distribution age we find ourselves in. I feel good about the future of this film and look forward to the world feasting their eyes on it.

I felt it was apropos to share an essay that I wrote back in 2009 as we were knee-deep into production on this film, for it really provides a window into the world of independent filmmaking and into the soul of the grassroots artist. Additionally, make sure to check out the film’s trailer below the essay, which I have included for your joyous perusal…

  What Fight the Panda Syndicate Means to ME

We have had a motto that has somewhat guided us since we began this journey on ‘Fight the Panda Syndicate’: what we lack in budget, we make up for in creativity. Given our meager resources I am very proud of what we have produced thus far. Lacking a large nest egg to cushion us, we have been forced to really get imaginative with how we have been making this film. Whether it is stretching the dollar to limits unseen by fund raising and bargain hunting or throwing away all conventional ways of storytelling and production, we have slaved since day one to achieve our filmmaking dreams. And as we watch the film come together in the editing process, like pieces of a puzzle, we stand behind another motto, one we adopted around the same time as the prior: ‘Fight the Panda Syndicate’ is the greatest independent film ever made. A bold statement to be sure, and one ‘El Mariachi’ fans may dispute, but never the less, one I will stand behind until the day I die.

It is hard to put into words what ‘Fight the Panda Syndicate’ means to me. How do you express a love this strong in words? I can honestly say I have never loved anything as much as this film. IT is my baby, my passion and the single most important thing in my life. My best friends and I have been working on this film for over two years now, going on three this summer. We have spent countless hours producing this project: discussing, planning, shooting, sweating, problem solving, bleeding and pressing on, as obstacle after obstacle, problem after problem, and antagonist after fucking antagonist has attempted to get in our way. We will not be deterred, not by the naysayers, the worrywarts, the assorted Riff-Raff, the inevitable financial woes or any other unforeseen force that is always working against this film. But, that is the life of the filmmaker and even on big budget films; there are nothing but obstacles and problems to address. So one must just keep their chin up and soldier on.

‘Fight the Panda Syndicate’ will be finished this year and then everyone can finally see the fruits of our labor, which is an independent film like no other. It is a film that transcends genres, is rich with character, ripe with humor, filled with action and danger and is truly a passion-filled ‘labor of love’ that started with four friends sitting around a kitchen table one night discussing ‘what if?’ This grand experiment, for lack of a better word, has grown into a family of creative artists over 400 strong from all over the north east. We are building a creative revolution, a collaboration of not only artists, but friends, who together are helping each other achieve their personal goals while striving for greater heights creatively and personally. This film is just the beginning of something truly remarkable, for it signifies that anything can be done no matter how impossible the odds against its success are and that if you work TOGETHER, ANYTHING can be achieved. ‘Fight the Panda Syndicate’ is just the first of many creative endeavors we will be working on together in all artistic realms in and out of film.

I sometimes find myself in disbelief at all we have accomplished. It is truly daunting to think of all we have been through since we started this film back in 2006. I pinch myself at times just to make sure this surreal dream is indeed a reality and not a sick Matrix-type joke I have been sleeping through. My dreams are unfolding before my eyes, almost too fast, and I find myself struggling to keep my mind on anything else. I can honestly say that ninety percent of the time I am not here; I am lost in my dream world physically present, but mentally on another plain going a hundred miles a minute in the idea super-highway. It is a place I don’t ever want to leave. Why would I want to?

This has been one HELL of a ride, filled with DRAMA the likes of which I have never experienced in my life. It is as if a door was opened into another world once production began on this film, bringing forth both great and terrible experiences; leaving our lives behind the scenes resembling a movie in itself. We have been through SO much these last couple years, both creatively and personally. Almost everyone involved with this project has had to deal with some pretty heavy shit, but we are still going strong, still fighting the good fight to get this thing finished. I am happy to say we are closer to the end than ever before with a rough cut actually in sight. The excitement is starting to brew, for nobody really has any idea what is in store for them! I am so excited for everyone I know and love to see this film that I feel high all the time, like I am floating along on a current of intense positive energy.

I am very thankful to God for the amazing family and close-knit circle I have been blessed with; I could not have asked for anything better. Without my belief in God and the strength that gives me and us each day, we would not have gotten through half the madness we have overcome. It is through faith and hope and the memory of my Mom that guided us through some of the hardest and darkest days and into the bright clearing we are at today. We have learned a lot and also gained much more wisdom these last couple of years; I know I am a better person because of it all.

In the end, experience builds strength, which in turn creates wisdom, which finally influences our character and makes us the enlightened people we are meant to be. I look forward to all the wonderful experiences the future has in store for us as we embark on a continuing quest for creative Zen – a place we can truly reach if we continue to work hard and to BELIEVE. And we will, I know it…right here in northern New Jersey, right under our noses; who knew?

Below, is the link to the film’s trailer:

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The Revenant

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Review:

The Revenant

***1/2 stars (of 4)

By Christopher Pickhardt

The magnificent trailer for The Revenant that was released last year featured breathtaking visuals of the American wilderness inter-cut with harrowing action, a bearded Leonardo DiCaprio, the gruff-looking Tom Hardy and a harsh story-line of revenge, all underscored by the growing sound of breathing. It is this most vital intake of oxygen that serves as the key theme of this captivating and immersive film.

As anyone who has seen the trailer is aware, Leonardo DiCaprio’s character, Hugh Glass (loosely based on a real life fur trapper) is attacked by a bear and left for dead by his fellow outdoors-man John Fitzgerald (played by the always amazing and ferocious Tom Hardy). This is the basis for the film’s survival/revenge tale, which slowly unfolds before us with some of the most beautiful footage you will ever see on film. Visually this film is an unparalleled masterpiece which should net a third Oscar in a row for Cinematographer Emmanuel Lubezki, who is on an amazing hot streak (having received Academy Awards for last year’s Birdman and 2013’s Gravity) and will most likely produce a second in a row award for director Alejandro G. Inarritu (who collaborated with Lubezki on 2014’s best picture Birdman).

The Revenant may also win a best picture Oscar this year as well, especially given that the Hollywood Foreign Press Association made that very proclamation themselves at this past Sunday’s Golden Globes telecast. It certainly appears as though the blood, sweat and tears and apparent misery the cast and crew endured while making this film are paying off. The accolades, praise and award chatter the film has been receiving are understandable. There is so much excellence on display throughout the film’s two and a half hours that it is almost daunting to absorb.

The Revenant is definitely one of those films that will stay with you and linger in your mind for days, as the best moments are replayed all over again like a cinematic highlight reel. I was absorbed by the film’s ghostly atmosphere, with the vast expanse of the snowy mountains and bleak dark clouds overhead. I was sucked in by the tempered music, which featured the sound of a bell that rang softly in the background, underscoring the harrowing extreme conditions of our hero’s journey – both emotionally and physically. And I was awe-struck by the gorgeous photography that was painstakingly captured solely by natural light. No artificial lighting rigs were used to make this film, so you can imagine how long it took to get some of these amazing action sequences in the can – especially the scenes that featured long uninterrupted takes! Truly this is a feat of filmmaking if ever there was one and I would wager that not many productions can match this piece of work. The technical achievements of this film are the elements that impressed me the most, as the story is fairly simple. However, it is the way that Inarritu tells this story that makes it fresh and engaging to an audience that has seen everything – except nobody has seen anything like The Revenant. Few films have featured photography this stunning (except for maybe in a Terrence Malick film) or showcased the majesty of nature to such an extreme degree or delivered a grizzly bear fight that looked SO REAL that it is hard to fathom how the hell it was filmed. Everyone on this film pushed themselves and their creativity to the limit and each and every performer (both behind and in front of the camera) was one their game.

There is a lot of Oscar buzz floating around Leonardo DiCaprio for his work in this film and I expect it to intensify now that he has won the Golden Globe for this part. It was a deserved win for a terrific performance, but a fairly quiet one. DiCaprio did most of his acting with his eyes, speaking very little and carrying the film with a relatable determination of a man on a mission. DiCaprio surely gave his all for this part; having worn that scraggly beard for two years, slept inside an animal carcass and even ate a raw buffalo liver on-screen. That is dedication. This is definitely one of Leonardo’s best performances, but not THE best in my opinion.

I really felt he deserved the Oscar for The Wolf of Wall Street. That was such a layered crazy performance that really showed a range and aptitude for comedy that we have never seen him exhibit before. If he does win this year I believe it will be a political win, given that there is a consensus that he has been overlooked and snubbed time and again. I do not disagree with that sentiment; the man is an incredible and reliable actor, who works his ass off on every film. I do not think anyone can ever accuse him of being lazy or phoning in a performance. I frankly do not get all the legions of Leo haters out there. You can’t rip someone apart continually because you did not like Titanic. The guy is a great actor.

Speaking of great actors, Tom Hardy, that powerhouse of a presence almost steals the movie, playing Fitzgerald, a ruthless rival fur trapper who cares only for himself, and manipulates the other members of the hunting party. One of his pawns is a younger naive man, Bridger (Will Poulter) who reluctantly goes along with Fitzgerald’s egregious act of abandoning Glass (DiCaprio) because he is not up to the task of standing up to the intimidating will of Fitzgerald, who is determined to get back to the fur trapping company’s fort to obtain his payment for this rough journey’s work. Hardy’s character is a guy who is not keen on authority and resents Glass, who has served as the company’s tracker as they travel through the wild in a six-month long quest for fur. Hardy’s Fitzgerald considers DiCaprio’s Glass a lousy guide who he alleges has led their party to considerable ruin and basically wants to cash out as soon as possible instead of traveling by foot through the mountains in an effort to avoid the Pawnee Indians who are in pursuit.

Fitzgerald also holds contempt for the company’s fair but stern leader, Captain Andrew Henry (Domhnall Gleeson), who Fitzgerald believes is mistaken for placing the company’s bounty of fur and their survival in the hands of a tracker that he deems incompetent. It is this building tension followed by that amazing grizzly bear attack (and one other major event I will not spoil) that serve as the catalysts for the film’s second act and eventual bloody conclusion.

In closing, I will reiterate that this is a marvelously made film with a bounty of texture and beauty, where every shot is a painting and every moment nuanced to perfection. In essence The Revenant is an art house film with a studio budget – truly a rarity in today’s blockbuster-hungry film climate. As I mentioned earlier, the theme of breathing or staying alive in other words, is a major thread throughout this film. Glass instills in his half-Native American son Hawk (Forrest Goodluck) the idea that “if you can breathe, you can fight.” And as Glass struggles to survive from one potentially fatal obstacle to another on his vengeful journey, those words are echoed all around him – especially as he sees visions of his late wife and hears her voice guiding HIM through the darkness. Perhaps we can all take that message to heart during times of crisis. There is a lot of truth to that statement. If we can breathe, we most assuredly can fight. So as long as air is passing through our lungs, no obstacles are too large. All we need is the drive to push ourselves to the limit. Just like the makers of The Revenant did.

House of Cards – Season 2

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Review:

House of Cards – Season 2

**** stars (of 4)

By Christopher Pickhardt

Having just finished House of Cards season two a couple nights ago I felt it was necessary to express how much I admire this show. From the very first episode of season one I was hooked – enthralled is more like it. And season two is even better…SO much better. I didn’t think that was possible.

I love political movies; the ins and outs of Washington, the corruption, the intrigue – it is all so captivating. Here in House of Cards, we are given an ever broader view of just how dirty that town is. I will concede that this is a fictional depiction of how American politics works and there are surely some extremes and liberties displayed, which serve the drama and tension of the story-line. However I am certain that a good amount of what we see here actually does go on.

Politics is just a dirty, power-hungry enterprise which is ripe with favors, alignments and concessions on all sides. In many ways Washington is a circus populated with puppets, puppeteers and figure-heads that fight in public and shake hands over laughs and bourbon in private. In effect, the joke is on us – the PEOPLE who buy into the farce that is American politics.

Our vessel for this look into the political matrix is the diabolical and determined Frank Underwood, played brilliantly by Kevin Spacey. This is his world and anyone who gets in his way is toast. Spacey is pitch-perfect in this role and he commands every scene with vigor and a steadfast determination which he shares with his audience when he often breaks the fourth wall to verbalize his inner monologue. He is the most charming, intelligent monster we have seen on screen in recent memory. It is rare that you find yourself both rooting for and against the show’s protagonist – who in turn also serves as the antagonist to other characters. That is a very interesting dichotomy and probably why the show is so intriguing.

Spacey’s supporting cast is also magnificent – lead by the always wonderful Robin Wright – who is doing her best work here as his equally-calculating wife Claire. Together they plow through Washington, doing anything and everything necessary to accomplish their goals and often stepping on people to get there. Casualties are all over the House of Cards canvas, with some truly shocking moments and unexpected twists and deaths. Michael Kelly is excellent also as Underwood’s right hand man Doug Stamper who exemplifies a mix of creepiness, servitude and blind allegiance; vowing to do whatever his master commands. Is season two, he is given a lot more time to flesh out this character and man, does he have problems to sort out. Raymond Tusk (played by Gerald McRaney) is given a lot more to do this season as well; his role serving as a fantastic manifestation of the supreme capitalist – a billionaire corporate tycoon maddened by power and hungry for the ear of President Walker. Michael Gill who we see a lot more of this season (as said President Walker) does a terrific job of showing us a man who is being played on all sides and at every turn by his supposed allies. At times he is almost paralyzed and it is not until he learns to show some strength, that he begins to regain his footing as the Commander in Chief.

I imagine many, if not all presidents in real life are in similar situations as Walker finds himself here – caught in the middle of dire national issues, foreign scandals and inter-office politics all the while hoping to do what he feels is right and possibly trusting the advice of people who may or may not have his best interests at heart.

This is an amazingly compelling show on all levels and I hate that I must now wait a year for season three. The perils of binge-watching are truly a double-edged sword. I can’t wait for that theme song, that incredible score, to kick in once again; which precedes a whole new chapter in Frank Underwood’s journey to the top. This is one of the few shows that I sit through the opening credits for EVERY time. I just love the score that much and adore all that GREAT time-lapse footage of the streets of Washington. It is such a cool introduction montage and I am thankful to David Fincher for creating that for us (not to mention, overseeing the show itself).

I know this program is based on a popular BBC series (and novel) of the same name, which I am very interested in becoming familiar with. I imagine the inner-working of the British Parliament must be just as intriguing, if not more, than the inner bowels of Washington, but I hesitate to venture into that material in fear of potential spoilers for the American House of Cards I have become so enchanted by. I am sure this version deviates from the British source material, but I am sure there are enough similarities that could possibly ruin certain big revelations down the road. So, I guess I will wait for the American run of House of Cards to play out then maybe I will visit the BBC version. Alas, the waiting is indeed the hardest part.

Dallas Buyers Club

Dallas Buyers Club

REVIEW:

DALLAS BUYERS CLUB

***1/2 STARS (out of 4)

By Christopher Pickhardt

Ron Woodroof is a hero. Sure he’s also a drug-taking alcoholic with a penchant for unprotected sex with prostitutes who inevitably contracts HIV and AIDS, but if not for that laundry list of flaws, our protagonist would not have his mission and the other AIDS-addled citizens of Dallas in the late 1980’s would have never gotten the alternative treatments they needed to battle the most horrifying new disease of the 20th century.

Suffice to say, Woodroof (played brilliantly by Matthew McConaughey) contracting AIDS was a bitter/sweet and tragic push the fighting-AIDS movement received during that very scary time in America’s history. During those early years when AIDS first began popping up amongst mostly Homosexuals, people were terrified and confused – their heads muddled with rumors, misinformation and even for some, biased hatred towards those they assumed were spreading this plague via reckless debauchery.

Additionally, there are even conspiracy theories out there that the US Government created AIDS in a lab in an attempt to eradicate the Homosexual population in the wake of the free love movements of the late 1960’s to 1970’s. Those claims are still open for debate, but given the intense unbridled fear which populated large portions of America in the early 80’s – especially amongst right-wingers in Washington, not to mention the added immeasurable profits fighting this disease could garner for the big pharmaceutical industry – taking all that into consideration, almost anything is possible.

This engaging film tells the story of Woodroof’s own battle with AIDS, the perils of early AIDS-pharmaceuticals like AZT (which in early stages was being tested at dosages that became lethal in many patients) and Woodroof’s eventual enterprising idea of trafficking (for lack of a better term) herbal and alternative AIDS supplements into America from Mexico, which were deemed illegal by the highly-corruptible FDA and distributed to patients free of charge via a membership “club” with monthly subscription dues of $400.00 where they could then retain the treatment they needed as a safer alternative to the hospital’s guinea pig AZT testing.

Woodroof gains some allies who assist him in his operation: Rayon (exceptionally played by the always great Jared Leto), a male transvestite who is also an AIDS patient becomes his partner in the operation and Dr. Eve Saks (the very sympathetic Jennifer Garner), is Ron’s hesitant doctor who eventually sees how flawed the hospital’s testing is and decides to back him up in his quest. Steve Zahn is Tucker, a local police officer who sympathizes with Woodroof’s plight and seems to always show up just when Ron needs him. Griffin Dunne shows up as Woodroof’s expatriate doctor in Mexico who supplies him with the alternative medications and lastly Dallas Roberts as Woodroof’s thankless lawyer David Wayne who has to deal with Ron’s adversaries – such as the FDA lackey Richard Barkley (Michael O’Neill), the hospital’s imposing Dr. Sevard (Dennis O’Hare) and eventually the subjugating IRS.

This film is an amazing story of courage, rebellion and drive – all in the face of certain death and legal punishment. Most people faced with the diagnosis of AIDS would quietly just go with the doctor’s orders and hope for the best. Ron Woodroof was not one of those people and his tale was one of consistent strides in the other direction – a middle-finger to the establishment and a smoking gun highlighting the overreaching flawed hands of the Food and Drug Administration whom lost its integrity long ago. The FDA sold its soul to the pharmaceutical companies and today especially to the agribusiness industry (especially the monstrous MONSANTO), where regulation really just means profit-protection for corporations.

Woodroof was a prime example of a leader, a man igniting a movement who did not fear his opponents or bow to the status quo. He was a fighter who got past his own prejudices and banded together with others afflicted with the same debilitating fatal disease as him. Dallas Buyers Club is an excellent companion film to And the Band Played On, Angels in America and Philadelphia, for it underscores not only the physical plights AIDS’ victims endure, but also the bureaucracy of the health care industry and especially the negative stigma those afflicted carried on their backs daily like a Scarlett Letter.

You will surely be hearing more and more about this film as the awards season heats up. Its stars Matthew McConaughey and Jared Leto will most certainly be shoe-ins for consideration in the top acting and supporting categories, but long-shots for the trophies at some of the bigger awards due to the film’s subject matter. Regardless of awards though, this is a powerful film with wonderful performances – with McConaughey and Leto giving their career-best turns (not to mention amazing physical transformations into emaciation).

It is utterly remarkable how effective and educational a film like this is. What could have been just a column in an old magazine is now told on the big screen in a way that completely envelopes the viewer and takes us to a time and place we were not necessarily privy to – an important time during a turning point in our culture. Films are about entertainment most of all, yes, but they also need to educate and enlighten its viewers. That is the true power of art and no medium accomplishes this better than film – it is THE art form of the 20th century and will continue to be for the foreseeable future. The industry just needs to remember how powerful it really is and focus less on profits and more on integrity. More films should accomplish what Dallas Buyers Club has and more often.

 

 

 

 

 

 

 

 

Black Swan

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Review:

BLACK SWAN

Rated: R

**** stars (out of 4)

Black Swan is an intensely absorbing psychological decent into madness with Natalie Portman as Nina, a ballet dancer who is beginning to crack under the building pressure which comes with taking the arduous lead in a new production of Swan Lake. The pressure to be perfect is commonplace in the ballet; especially in New York City where after many seasons in the background, Portman’s Nina is finally given the chance to shine in two challenging lead parts, as the White and Black Swan roles respectively.

Nina’s mother Erica (Barbara Hershey), an ex-ballet dancer herself-turned painter, is overjoyed by her daughter’s ascension to the top of the ballet food chain but adds a layer of unneeded pressure onto her daughter’s already heavy shoulders. This coupled with the stern bluntness of the production’s seasoned director Thomas Leroy (Vincent Cassel); an intimidating genius who is not shy about flaunting his sexuality to his dancers, makes for an incredibly claustrophobic atmosphere for Nina. Additionally, Leroy urges Nina to be less rigid and uninhibited in the sexual arena to further immerse her in her roles. The film wades in sexual awakening and expression through most of the middle act, slowly building to a crescendo as Nina herself explores her primal hunger which has been dormant and very necessary for her to embody the essence of the Black Swan.

It is here that the film really immerses us in Nina’s mental spiral and we witness with her, the constant anguish of striving for perfection: the mental, emotional and physical discipline and constant fear of failure. The thrill and excitement of carrying the production on her shoulders eventually gives way as the pressure builds to growing anxiety and paranoia at the thought of being replaced by an understudy named Lily (Mila Kunis), who drops into the production out of nowhere both as friend and foe. Their relationship develops as adversaries, morphs into friendship and then jerks into darkness in ways I will not spoil but ones that will leave your eyes glued to the screen and in your thoughts well after you have left the theater.

All this weighs on Nina day and night as she pushes herself to be better with the looming production’s opening night just weeks and eventually days away. She dances, sleeps, bleeds and cries – that is her routine as she takes the spotlight. Nina knew it would be hard taking the lead after many seasons under the shadow of Leroy’s original prodigy and now retiring Beth (Winona Ryder), but as Nina slips deeper and deeper into mania, her grips on reality begin to crumble beneath her.

Black Swan features easily the best performance of the year by Portman and should ensure her the Oscar in a couple months. She trained for over a year for this film and it shows – physically and emotionally. She brings a heartbreaking realism to the role of Nina, a tortured girl whose desire to be perfect consumes her. Portman has come a long way since that little girl in The Professional (1994) and proves she is more than just a pretty young face. Like her performances in Closer (2004) and in last year’s Brothers, she shows us her vulnerability and her inner fire. I admire her dedication to the part and the discipline of training to be a ballerina. It is probably the hardest and most strenuous of the performance arts, as the physical toll your body takes alone is grueling, not to mention the constant mental and emotional turmoil that undoubtedly comes with it.

The supporting performances are all great as expected. The always cunning and menacing Vincent Cassel gives us another memorable character as Thomas; the sexier than ever Mila Kunis shows us another side of her we have not seen yet and Winona Ryder is powerful as Beth (it is good to see her back in films after several years out of the spotlight). And Barbara Hershey also delivers a terrific performance as Erica, an artist and mother struggling with lost dreams in light of her daughter’s realization of her own and as she lives vicariously through her daughter, she also sinks into the realm of madness in her own way.

This is another wonderful film by director Darren Aronosky who gave us the outstanding Mickey Rourke film The Wrestler a couple years ago (my favorite of Aronosky’s films) . He is one of the most absorbing directors working today; always different and inventive. He favors handheld camera work (The Wrestler was entirely handheld), vibrant imagery and stories about people rather than intricate plots (although his characters inner monologues can be very rich and complex). Here, he orchestrates the physical and mental world of a ballerina in turmoil perfectly and like in The Wrestler, Requiem for a Dream and π, Aronofsky gives us a likable protagonist with demons who descends into darkness.  He is obsessed with the mind and with human behavior and chooses to examine us as a species in diverse walks of life and afflictions. I read that initially a few years ago, Aronofsky wanted to make a film about a wrestler that falls in love with a ballerina. I am sure that would have been an interesting film, but I am happy things turned out the way they did.

Hereafter

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Review:

HEREAFTER                                                                      

**** Stars (out of 4)

Hereafter, Clint Eastwood’s newest film explores the after life in a manner I have never seen before and he does it beautifully. The film addresses the moments immediately following death vividly, leaving us yearning for more but does not exploit it. We are given just enough to wet our pallet, with glimpses of what could happen after our time on this planet is over. God, faith and religion are all mentioned in the film but not for long and it is up to the audience to take what they have seen on the screen and decide for them self what they believe.

Eastwood does not preach but merely presents three stories of people deeply affected by the afterlife and as the film meanders through the lives of these distinct characters, we are slowly being connected to them and begin to care deeply for them, so when the film gets to its conclusion, we are cheering inside for each of them. At least I was.

As usual, Clint Eastwood has made a wonderful, poignant film with subtle nuances and gentle piano music to enhance each mood. The piano has become Eastwood’s signature which he includes with each subsequent film. He has cast his film very well, with Matt Damon as George (a reluctant psychic struggling to live a normal life), Cécile De France as Marie LeLay (a TV journalist who survives a near-death experience) and Frankie and George McLaren as Marcus and Jason (twin brothers who are deeply connected and tortured by the grips of death). The actors all do a fine job, each carrying the film on their shoulders in equal measures. It was an interesting role for Damon, who has become synonymous as an every-man; playing men that seem like someone you would meet on the street that often have an immediately-evident intelligence.

The film is thought-provoking and sensitive with some thrilling moments – like the film’s unreal opening sequence, which will leave you gripping the armrest with white knuckles. But even though the film opens in a grand way it is toned down for the rest of its running time, as this is a drama, not an action film. The story kept my attention and left me riveted, intrigued and moved as I walked out of the theater thinking to myself of the possibilities which lie at the end of my road. I just hope that day does not come for quite a long time. I’ve got stuff to do first.