Jason Bourne: Ghost Whisperer.
Three different stories across Earth come together because of one major factor one experiences in his, or her life: Death. There’s George (Matt Damon), who has a “gift” in which he can speak with people’s lost ones through the after-life, and considers it more of a curse than anything else. Then, there’s French journalist Marie Lelay (Cécile de France) who has a near-death experience when she vacations to Thailand during the infamous 2004 earthquake and tsunami, and finds herself in a bit of a trance-like phase afterwards when she has to get back to functioning in everyday, normal life. And lastly, there’s twin-brothers Marcus and Jason (Frankie and George McLaren), who both stick by one another as their drug-addicted mum gets worse and worse everyday, only to then be left alone when one of the twins die in a car-accident. All three people deal with death in their own ways and somehow, through the sheer power of fate, chance, or maybe even luck, connect while still looking for the same answers: Just what exactly happens to one when they die? Is it all just dark and blank? Or, is there more beauty and wonder to being dead?
At the time of this movie’s release, Clint Eastwood was 80-years-of-age and still going strong with life (as well as with the ladies) I presume. However, even a bad-ass mofo like himself has to at least accept the reality that yes, even he may die one of these days. And yes, for a man of his age, that could mean anytime soon.
“Come play with us, Danny.”
Though that sounds morbid and all, I only mean it as a way to understand his inspiration in deciding to direct a movie such as this. See, it’s all about the idea of death, what happens to us when we succumb to it, and what is there left to do after? Do we all just float around like ghosts, spooking people in horror movies and occasionally being spotted in strange photos? Or, do we live in this glow-y, supernatural after-life in which we all just hang out, party it up like no tomorrow and just wait for our loved-ones to eventually join us whenever their time on Earth is up? It’s never been proven which actually happens or not, and even though there are some people who like to say that they know exactly what happens, there’s still not enough fact to fall back on.
That said, Eastwood’s movie makes a pretty interesting claim that it doesn’t matter if we know or not, living this life on Earth is what matters most. We have to make the best of it and not get bogged down by the fact that people we know are dead and that we will be soon; we just got to keep calm and chive on, or so I’m told.
Which brings me back to what I was originally going on about: Eastwood’s age meaning something. Because see, even somebody of Eastwood’s respected stature among masculine-men, has to eventually realize that he soon will die and be gone from those he loves, or anybody else in the world for that fact. Once again, I know it sounds depressing, but it really isn’t – at least not in Eastwood’s case who is actually leaving a large body of work behind him as his legacy, where most people have just their regular, everyday lives. Still, not saying one person’s death is less important than another’s, I’m just saying that I wouldn’t be surprise if the reason as to why Eastwood decided to get behind this movie and direct it, had a little bit to do with the fact that he himself is getting up there in age and closer and closer to being gone.
And with Eastwood here, his direction is very surprising. The choices he makes (like barely any score heard in the background, dim-lighting, long-winded scenes of dialogue) keep this movie interesting, in a small, contained way. It’s not something we often see from Eastwood or his flicks, however, it’s something that made me think that even though he’s older, he still has new, creative ways to show that he can shake things up, if only ever so slightly. You get a sense that Eastwood not only wants to pay attention to the themes about dying and the after-life, but also to the story and these characters, without really trying to get in the way of what it is that they do with their time on Earth. It would have been easy for him to do so, too, but Eastwood, being the dignified man he is, leans back and just lets most of the characters speak for themselves with their actions, wants, and needs.
However, there was something terribly “off” to this whole feature. And before anybody gets on my case and makes a point that “not every movie has to be played at a pace of 110 mph”, I will say this: It was not the pace of this movie that bothered. Even if it was slow and calm, it did not bother me; in fact, it did quite the opposite, it kept me watching. But no, what the real problem was that most of the movie felt like a smaller-scaled, less eventful indie that didn’t rely on the sheer-spectacle of its story, or the budget it was granted, but more of its characters, their feelings, emotions, etc.
But for some reason, by the end, Eastwood starts take steps further and further away from this mode of filming, and gets quite sentimental after awhile. Worst of all, he has most of this story ring false notes that I wish I didn’t see coming, but sadly, did. Meaning that when they did happen, they brought down the emotions going into this story and why it mattered to us that these three characters eventually find peace, love and happiness with their lives.
For instance, the character of George is a great example of what I’m trying to say. Here’s a guy who starts the movie out by contacting somebody’s dead wife and shows that what he has, is a total gift and is not a lie whatsoever. However, he doesn’t want to be known as “the guy who can talk to the dead”, whom everybody swarms and attacks, hoping that they too can speak with their lost, loved ones. You feel sympathy for him because he just wants to live a calm and peaceful life, yet, at the same time, also feel bad for him because he’s lonely and can’t really tell any person that he wants to be with for the rest of his life, who he really is, or what special talents he has deep in the pits of palms.
The French have always been known to be quick on their feet. Possibly an offensive joke. I don’t know yet.
It should be noted that, as usual, Damon is great in this role as George, because he’s pretty much the everyday man. Sure, he may have a unique talent that puts him in a different category from “everybody else”, but Damon plays him well to where it seems like this is just your ordinary, average dude who just wants to be happy, man. However, what ruins George by the end is that he makes some decisions that seem terribly contrived and only allowed so that he can eventually meet-up with the two other main characters in this movie. Didn’t quite work for me as much as I would have liked, and believe it or not, probably would have been a lot better off had it just been avoided in the first place.
With a movie like this, it’s almost expected that these three would eventually cross paths, but I feel like since their lives were each so miserable and painful as they were, that being separated from one another would make the movie more interesting, albeit, believable. But, as expected, Eastwood went with the conventional-route and made sure that these three eventually find ways of meeting one another and affect each other’s lives in big, meaningful ways; as hackneyed as they may have been.
As for the other two, or should I say, three, in this cast, Cécile de France and both Frankie and George McLaren are fine in their roles, although the latter two may not fair as well as de France. It’s not that I like picking on child actors, but when kids give bad performances, I recognize it and here, with both Frankie and George McLaren, they clearly can’t handle the material as well. Then again, they’re twins playing, essentially, the same character at most points, so I guess that’s a gimmick Eastwood himself couldn’t resist in trying out for size.
Sadly, it pains me to say that Clint may have been beaten-out. Yup, I went there and I find myself wanting to come back as soon as I just typed-it.
Please don’t hurt me, Clint.
Consensus: Hereafter is definitely made more interesting by the fact that somebody of Clint Eastwood’s stature and talents would get behind it, but sadly, even he succumbs to the more schmaltzy, sentimental happenings that overtake the last-half or so.
6 / 10 = Rental!!
The first date and she already wants him to contact the dead. Typical of women. Am I right guys?
Photo’s Credit to: IMDB, Collider, Joblo