5.9/10
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141 user 137 critic

After.Life (2009)

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After a car accident, a young woman who is caught between life and death, meets a funeral director who appears to have the gift of transitioning the dead into the afterlife.
1 nomination. See more awards »

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Cast

Cast overview, first billed only:
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Beatrice Taylor
Luz Alexandra Ramos ...
Diane (as Luz Ramos)
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Tom Peterson
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Mrs. Whitehall
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Father Graham
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Vincent Miller
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Mrs. Hutton
Sam Kressner ...
Acne Kid
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Teacher #1
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Tall Kid
Prudence Wright Holmes ...
Old Woman #1
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Storyline

After a horrific car accident, Anna (Ricci) wakes up to find the local funeral director Eliot Deacon (Neeson) preparing her body for her funeral. Confused, terrified and feeling still very much alive, Anna doesn't believe she's dead, despite the funeral director's reassurances that she is merely in transition to the afterlife. Eliot convinces her he has the ability to communicate with the dead and is the only one who can help her. Trapped inside the funeral home, with nobody to turn to except Eliot, Anna is forced to face her deepest fears and accept her own death. But Anna's grief-stricken boyfriend Paul (Long) still can't shake the nagging suspicion that Eliot isn't what he appears to be. As the funeral nears, Paul gets closer to unlocking the disturbing truth, but it could be too late; Anna may have already begun to cross over the other side. Written by Anchor Bay Films

Plot Summary | Plot Synopsis

Taglines:

How do you save yourself when you're already dead? See more »


Motion Picture Rating (MPAA)

Rated R for nudity, disturbing images, language and brief sexuality | See all certifications »

Parents Guide:

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Details

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Release Date:

26 August 2010 (Netherlands)  »

Also Known As:

After Life  »

Box Office

Budget:

$4,500,000 (estimated)

Opening Weekend:

$59,946 (USA) (11 April 2010)

Gross:

$108,229 (USA) (30 April 2010)
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Company Credits

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Technical Specs

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Kate Bosworth was originally cast as Anna, but was replaced by Christina Ricci. See more »

Goofs

When Eliot leaves, Anna takes the keys and opens the door. You can see the lock is a double deadbolt and requires a key on both sides. As Anna has the keys Eliot could not have locked the door See more »

Quotes

[first lines]
Eliot Deacon: It's time now. You're absolutely beautiful for your funeral.
[crossing his hands]
Eliot Deacon: It's as if you were still alive. Just sleeping. This is how they're all going to remember you.
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Soundtracks

Piano Trio in A Minor, Op. 50 - Pezzo Elegiaco
Composed by Pyotr Ilyich Tchaikovsky (as Peter Ilyich Tchaikovsky)
Provided by Opus 1 Music
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Frequently Asked Questions

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User Reviews

 
Thoughtful and Creepy
9 November 2009 | by (United States) – See all my reviews

What does it mean to be alive? Not a question you're going to find broached in 10,000 B.C. or 2012. But it is a question first time director Agnieszka Wojtowicz-Vosloo tackles in After.Life with surprising depth and skill. Christina Ricci plays Anna, a woman disconnected from her almost fiancé (Justin Long) and alienated by her mother, who moves about her days in a mostly apathetic haze. For the most part Anna's life seems, well, rather lifeless - until she wakes up on mortician Liam Neeson's slab only to learn that she is in fact dead. What exactly that means is the mystery.

My favorite way to see a movie is when I know next to nothing about it (so I won't spoil anything here!), and that's how I went into the AFI screening of After.Life last night. I knew the basic premise and a little about the story, but other than that - nada. Which I have to say is a great way to approach a thriller. The highlight for me was Liam Neeson (no real surprise there) who brings surprising warmth and complexity to what could have otherwise easily been a very two-dimensional character. The other standout was Chandler Canterbury as Jack, Anna's young student who has a little figuring out of his own to do. Their performances alone are worth the price of admission. The director's attention to detail, dream imagery, and color (most notably a scene where Neeson washes the dye from Ricci's hair as she lies stretched across an embalming table) reminded me of the stark, Gothic beauty of Six Feet Under and Dexter. That said, this film isn't cut and dry, doesn't tie everything up neatly at the end, and asks more questions than it answers. It's definitely not your typical American movie - something I consider a positive aspect. If you don't, then I'd suggest skipping this one an netflixing Twister.


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