Nelson Mandela, in his first term as the South African President, initiates a unique venture to unite the apartheid-torn land: enlist the national rugby team on a mission to win the 1995 Rugby World Cup.
A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
A drama centered on three people who are haunted by mortality in different ways. George (Matt Damon) is a blue-collar American who has a special connection to the afterlife. On the other side of the world, Marie (Cécile De France), a French journalist, has a near-death experience that shakes her reality. And when Marcus (identical twins Frankie McLaren and 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
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.) See more »
Marie and Didier are eating at a Paris restaurant on the evening following the London attacks: 7 July 2005. It is pitch black outside. On that date in Paris, civil twilight ended at 10:38 pm (i.e. the sky turned truly black at that time). That late in the evening, diners at a Paris restaurant would not be mid-meal - restaurants close up around 10:30 or 11 pm at the very latest. See more »
I'm sorry, I'm losing him now. He's leaving. He wants to leave.
No, Jase. Don't go. You can't.
Don't leave me. I don't wanna be here without you. Please, Jase, don't go. I miss you.
Okay, he came back. He's here. He says if you're worried about being on your own, don't be. You're not. Because he is you and you are him. One cell. One person. Always.
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The mid 80s-late 90's Warner Bros. shield is used and is in black and white at the beginning of the movie, and at the end of the credits, the same Warner Bros. Shield is used alongside the Amblin logo, also in black-and-white. See more »
I can't believe I was gonna miss it because of bad reviews!
I'm amazed at the amount of attacks this wondrous picture has suffered so far. I don't know whether it's Clint Eastwood, Matt Damon, or an overstated publicity before its opening. Would it have received different reviews if it had been directed or starred by other people, I don't know! The movie is SUPREME! It's probably going to be the best movie I will have watched this year. I don't deny that at first I was so put off watching itbecause of your reviews, of course, and because I originally thought it would grapple with bereavement and loss and all spooky depressing mattersbut an initial 10 min proved I had been greatly mistaken, and misled. It's been time since I've followed such a delicate and lovely storyline. It reminds me of movies like Sleepless in Seattle, The Adjustment Bureau and Jet Lag. It's much better and sophisticated in romance, for that matter; the romantic element runs almost surreptitiously, without you noticing it, till it is consummated in the end. The multi-plot scenario is really authentic, despite some reservations I have toward the Irish twins story. Some may criticize by stating its slow pace, but in my opinion it couldn't have been brought out another way; this is drama, people, not an action or horror flick.
This is a very bright, profound and unusual work of art. I may have my takes on some points in the scenario, the attitude towards Christianity in particular (which was quite unexpected given the spiritual dimension of the movieas if they were trying to re-found spirituality without religion!); but all in all, a fascinating picture.
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