User reviews

Brilliantly acted film depicting two soldiers whose job it is to inform families when loved ones are killed in battle. Harrelson has never been better and Foster more than matches him all the way. It's emotional and engaging and genuinely painful at times. I had always thought how hard it must be to carry out such a job but had never really considered just what psychologically damage it could do long term to the person doing it. Harrelson depicts a man who has been doing the job far too long brilliantly and Foster in turn shows just what it can do to you initially. It's a perfect blend and the chemistry is excellent from start to finish. Deserves a much wider release and is with out doubt one of the best films of last year.

The Messenger has incredible acting by Ben Foster, Woody Harrelson, and Samantha Morton.

The film has a curious flow to it. It begins predictable, yet remains engaging, exposing a heart-breaking consequence of war no family wants to face. Although the news remains the same, emotions run just as deep at each door. Every scene is handled marvelously through subtle performances by the actors. As the film unfolds, the viewer sinks into the complex characters on screen, discomforted by the internal struggles that slowly surface.

The Messenger is a non-linear, character-driven film with exceptional performances but might not be for everyone.

I saw The Messenger (as well as Oren Moverman and Ben Foster luckily) at the 2009 Philadelphia Film Festival and can say sincerely that I was captivated and moved by it for the majority of its runtime. No matter what your background or stance on the war, you need not worry because it is not a movie that attempts to have an opinion, but merely one that captures a different kind of war- one between civilians and the military, between following procedure and following what you believe.

In his last three months of service, Officer Will Montgomery (Ben Foster), is assigned to be a messenger to next-of-kins who have died in Iraq alongside the elder Lieutenant Anthony Stone (Woody Harrelson). He struggles with being the bearer of bad news to heartbroken parents and wives, delivering the messages to people of all ages, ethnicities, and social classes. His work becomes compromised, however, when complications with his girlfriend arise and he becomes involved with one of the widows, challenging his ethical and moral considerations. He plays the younger, more vulnerable to Harrelson's gruff, uncompromising, and often cold ethic.

The film is, in a word, compassionate, as it is almost entirely character-driven. The chemistry between Foster and Harrelson is incredible, demonstrating talent beyond the range of what one would expect for both actors. I would be very surprised if either one of these two were not nominated for an Academy Award. The cinematography is also very unusual, filmed in long takes, letting scenes unfold, rather than wide/medium/close- up/reverse formula, and heavily based on improvisation.

All in all, The Messenger is a touching story about the differences we can make in others' lives simply by being the right person to break the news and having an open heart. It's a tribute to the men and women in arms without letting political differences get in the way. A story of the war at home shared alike by civilians and military, it's hard not to feel emotionally affected.

The Messenger is being overshadowed by other war films like The Hurt Locker, yet it is different and a great film. It has a very slow pace, but it has some incredibly powerful scenes and some amazing acting. Woody Harrelson is getting Oscar buzz for his performance, and he does deserve it. He has had a great year, with this and Zombieland. As great as he was, though, Ben Foster is just as great. Samantha Morton is probably better than both because she possesses a subtle and powerful gesture that only she has. I have only seen her in one other film, Synecdoche, New York, and she plays completely different types of personalities in both. Here, she is very quiet, but she is able to portray the reason why Foster's character is intrigued by her. The job that Stone and Montgomery (Foster and Harrelson) have is very difficult to do, and this is the first film to portray a job like that that I have seen. The director and writer did a great job. One of the flaws is that by the ending the film has no real directional focus, and this is a flaw in the screenplay. However, still a great film that should be seen not just for Harrelson but for the entire cast. Don't let the subject matter turn you away

THE MESSENGER is by far and away one of the best works of art that addresses the deep tragedy behind the current U.S. war in the Middle East that I've seen. THE MESSENGER is an attempt by Director Oren Moverman and screen writer Alessandro Camon to place themselves between the ears of two career soldiers who serve a vital place in U.S. Army Special Services, Casualty Notification teams who inform the families of soldiers that their family member has been killed in battle. As someone who remembers full well the devastating feeling you got in your insides when you saw these teams turn up at the quarters of friends and their families when my own father was serving in Vietnam in the late 1960s, I found the film an important effort.

Staff Sergeant Will Montgomery (Ben Foster) is a Iraqi war veteran recovering from a battlefield wound who is reassigned to a State Department and United States Army Casualty Notification team, which is led by Captain Tony Stone (Woody Harrelson). Montgomery is also facing an impending breakup with his girlfriend Kelly (Jena Malone), who is playing him off against a wealthy, established suitor. When he is assigned to Stone's team, he is at first resentful. The military decorum which is demanded of the Casualty Notification Team is very exacting, with learned routines that come from a spit and polish military professionalism that requires a distance that is extremely difficult to attain.

What follows is a series of well connected vignettes, in which the younger soldier is asked to stride this nether world between the jaundiced, dry-drunk outlook of the seasoned bearer of bad news, Captain Stone. Stone is a bitter man with some frustrated ambitions of his own, which are revealed late in the film. Obsessed with sexual victories and teeter tottering between professional sobriety and complete emotional collapse, Stone is far from a steady colleague mentor. Encounters between he and Montgomery go into emotional roller coaster as each man learns to accept the other on his own terms while acting out an extremely trying professional military role.

In short time, Montgomery comes into contact with the widow of a soldier who sparks his interest, and becomes torn between professionalism and attraction to the young widow Olivia Pitterson (Samantha Morton). Montgomery is forced to grow into himself, despite his outward cynicism, and in short time begins to mentor his mentor, Captain Stone. The story has an open ending, with Montgomery seeking to be part of the life of widow Olivia as she is seeking to reestablish herself in New Orleans. No morals are offered, and this is the true strength of the work as a whole. There isn't much humor to be found here, but watch for the scene where a bender fried Montgomery and Stone attend the wedding reception of the woman who has broken Montgomery's heart. The lampoon of upper middle class phoniness is priceless.

The beauty of THE MESSENGER is that it does not fall into the usual pro war or antiwar camps that film making in an era like our own are usually so encumbered with. The film makers are ambitious and restrained. I have no idea whether the plot line is itself "contrived" as some here have argued, which I have to say is a rather ridiculous critique given that movies are rarely anything but "contrived", and this is particularly true of the genre we call the war film. Some who have written here seem to believe that the film discredits the "professionalism" of those who do the work of Stone and Montgomery, as though "professionalism" were itself some sort of fetish that protects one from emotional or mental illness generated by both war time trauma and the mystique of military culture. Such are the times in which we live, ideological blather is rampant.

THE MESSENGER is important because, in the words of that great Vietnam war era politician, the late President Lyndon Baines Johnson, it is art, it shows us who we are, not who we say we are, not who we think we are, but who we are as a people, and as a political culture. At various moments, it is clunky. But it is an early effort to give some true definition about what the debacle in Iraq has done to our culture, and to the people who are expected to do the dirty work of the empire's war machine. It is a rare gem in mainstream contemporary U.S. film making.

Don't blame the messenger. But we do. In a key speech, one of the protagonists points out that people don't like being reminded how horrible war is. Or that people die in it. Delivering such news is the job of Captain Tony Stone (Woody Harrelson): informing, in Army jargon, the "N.O.K." (next of kin) that their loved one has just perished in Iraq. The movie's job in turn, I suppose, is to tell us how many lives war, or the latest one, wrecks. But this is, alas, likely to be another Iraq movie nobody will want to watch. 'The Messenger' is so downbeat and its action is stuck in so deep a rut that it never quite sings or emerges from its narrow context. Nonetheless the details are interesting, the feel is authentic, and the acting is excellent.

As 'The Messenger' begins, the captain is joined by Staff Sergeant Will Montgomery (played by Ben Foster, who shone in 'Alpha Dog' and '3:10 to Yuma') -- a young man who has just recovered, physically anyway, from an explosive encounter in Baghdad that got a lot of his squad killed and gained him a medal. He's come back to find that his girlfriend (Jena Malone) is marrying somebody else. When he tries to relate to people, he tends to implode. Now he's assigned to spend his last three months of active duty with the captain, a shakily recovering alcoholic, who explains the rules and procedures of the difficult job of being (in the government euphemism) a Casualty Notification Officer, with grim, dictatorial bravado (Harrelson handling his "wild man" role with panache, restraint, and humor). You play it strictly by the book. You don't talk to anybody but the N.O.K. You do not wait around for the N.O.K. You get in, you say your piece, and you get out.

This is about the worst job you could imagine (or the Army could offer you), and, as shown here, downright dangerous. The N.O.K., especially if male, may not kill you, but they could very well physically attack you, and at the very least will launch into hysterics, or verbal abuse, or collapse and need immediate medical attention. Partly this movie is simply the study of a process most people don't know about, though again, they may not really want to know.

The plot has to escape its confining how-to format. It does so -- not altogether successfully -- by having Will, who has not really gotten with the program, decide early on to violate protocol and become involved with the bereaved Olivia (Samantha Morton), who has a young son, who's black, and has a sad sweetness about her. The encounters between Olivia and Will are painful and awkward, but touching and sad. Neither of them is ready for a relationship. Olivia is passive, and kindly. When the captain originally tells her of her husband's death, she shakes both soldiers' hands and says "I know this can't be easy for, you," -- "a first!" the hardened Tony later exclaims. Will desperately needs to be of help or maybe just to rest his head on Olivia's breast.

These people have nowhere to go -- though Olivia decides to head south. Painfully, all three reach out a little. Tony goes off the wagon ("I have to call my sponsor," he says, realistically, after a binge), but in doing so, and then going fishing and getting beaten up together, the two men bond.

The weakness of the thoughtful, well-informed screenplay by Alessandro Camon and Moverman himself (who collaborated with Todd Haynes on the script of 'I'm Not There') is that the romance is a non-starter, too much of a distraction from the bonding between Tony and Will. The men's raucous intrusion on Will's ex's wedding party is a good set piece, but both men could use more of a back story. Moverman is said to have seen action in the Israeli army, and the movie is at its best in capturing the feel of military life -- the edge of craziness after long service, and the desperate refuge in routine, with an equally desperate need to escape from it. For all its weaknesses, this is a reasonably promising directorial debut for Moverman, though, as I am not the first to say, it's not the greatj Iraq war movie Kathryn Bigelow's 'The Hurt Locker' is.

After countless inert and strangely uninvolving films that have been released over the last few years and have used the war on terror as a backdrop for their action ("Jarhead," "Rendition," "Stop-Loss," more I can't even recall at the moment), 2009 produced two films that finally feel plugged directly into the tone the war has taken in our culture -- one of wearying sadness.

One of those films was "The Hurt Locker," and the other is "The Messenger," Oren Moverman's somber and haunting story about a troubled soldier back from the front lines who's assigned the task of notifying people about the deaths of their loved ones in the conflict. I can't vouch for the accuracy of either film, but I can say that both communicate the same emotions I feel when I see or hear first-hand accounts about what's going on overseas. I'm not enraged or galvanized into either pro or con positions -- I'm simply depressed by the meandering, pointlessness of it all and the human waste.

The acting trio of Ben Foster, Woody Harrelson, as Foster's instructor in how to be a harbinger of death and especially Samantha Morton, as the widow of one of the dead with whom Foster strikes up a romance of sorts, are formidable, and the film feels authentic in its settings and in the people who populate them. If you had to label the film one way or another, you would definitely have to come down on the side of anti-war. But it's really too resigned and matter-of-fact for that label to fit, and that's what I like about it. It almost seems to be saying that being anti-war is beside the point. Wars are always going to exist, and to be opposed to them is a waste of time. What's most troubling to think about are the innumerable number of lives that are going to be snuffed out because of them.

In a film filled with terrific scenes, the one that haunts me most is the one set in Morton's kitchen where she tells Foster about the relationship she shared with her dead husband. Filmed as one long take, the scene is mesmerizing, and Morton is so good I can't imagine how she managed to go overlooked at end-of-year awards time.

Grade: A

Since the early 50's war movies have set a precedence of being filled with the war itself, action and brutality. Here we have a war film completely opposite, the war at home of the families left behind when a soldier dies. Oren Moverman has delivered a punch to the gut with the movie that is driven from the notification process to families. A story strongly set up by Ben Foster's character Montgomery, a injured war hero who has only 3 months left on his tenure. He assigned to the Notification detail and has zero experience in how to grieve much less deal. Tremendous performances by Foster, Harrelson and Morton accompany a strong, well written script and musical score.

This film will make any person acknowledge the truth and sacrifice of every soldier. Solid, well done film. 7/10

I was fortunate enough to see this at the recent NY Drama Critics showcase, where both the director (Mr. Moverman) and a co-star (Woody Harrelson) participated in after-show Q&A. First of all, the film is superb - but the summaries I've seen so far do not do justice to what the movie is really about. Sure there are ethical dilemmas, sure there are soldiers who have returned from Iraq. But the great strength of this film is its focus on individual human beings and their reaction to humans' most important concerns: life, death and love. Oren Moverman - accomplishing this so beautifully, accurately and subtly in a small-budget film - is to be congratulated. Woody Harrelson, Ben Foster and Samantha Morton are all magically on the same wavelength in their performances. And the writing (by Camon and Moverman) acknowledges the fact that reasonably intelligent people might be watching... people who don't need every little detail spelled out. Oh yes - I should mention that there's a lot of humor interspersed throughout. The result of all this? The people you meet in this film will stay with you for a very long time - and you'll be glad for that.

Maybe its me or I am just getting tired of all these movies coming out focusing on Americas war involvement and the consequences of it. we had that tommy Lee Jones movie and his missing movie and in this Oscar run The Hurt Locker (which is streets ahead of this movie in terms of entertainment and quality).

The acting is on a par but the story is not and I find the Tony Stone character somewhat tiresome and tedious. Ben Foster acts extremely well but overall he is placid except for the little outburst at his ex-girlfriends engagement party.

After the first couple of home visits, I feel the film runs out of steam and we are distracted by Ben Fosters surprise and curious attraction to one of the widows to whom he has recently brought the bad news.

I can see why Americans have nominated it for awards but the rest of the world will not be so interested, unlike Hurt Locker, which has a more objective message.

Wont stay in the memory bank for long and Ben Foster will act better and get a more challenging role I hope.

I'm normally pretty hesitant about watching movies that have to do with war, but I'm glad that I chose to watch The Messenger. The movie took a completely different stance than what I'm used to when watching a movie about war. I never really thought about the people that had to deliver the message about a loved one that died in the military, and the way the story is told made me really care for the characters and feel for Harrelson's and Foster's characters and the important job that they have to perform. I would never want to have to do their job, but I truly respect the people that have to perform that job on a daily basis.

Harrelson, Foster and Samantha Morton put on really powerful performances that I honestly believed. And the rest of the cast did a fine job, as well. The emotion was so intense that I could feel it, and I easily got sucked into the story. It was a powerful movie that really made me think about the hardships in a sincere and thoughtful way. Overall, I enjoyed the film and I will continue recommending it to all my friends because I think everybody should watch it at least once. The story sticks with you long after you finish watching the movie.

I watched this movie because of all the awards buzz it has gained recently. This includes a Best Supporting Actor nod for Woody Harrelson in one of year end critics awards.

The title refers to the thankless duty of notifying next of kin about the death of their loved ones in the War. That is the assignment given to Sgt. Will Montgomery (Ben Foster) when he had to come from the war due to an eye injury during an explosion. We worked under the "mentor-ship" of seemingly no-nonsense Captain Tony Stone (Woody Harrelson).

Once this premise had been established, you knew that the situations they would face would be richly infused with human drama, and they indeed were. To make things more interesting, Sgt. Will also had to face the problem of his girlfriend getting engaged to someone else, and the dilemma of getting involved with a widow to whom he delivered bad news of her husband's death. We also get to see what actually transpires tragically behind Capt. Stone's cold facade.

The screenplay effectively and interestingly mines all possible areas of personal conflict regarding the war situation at home. I'm going out on a limb to comment that there was a problem in the direction by newcomer Oren Moverman. The treatment was too turgid and slow. The actors, while very good in internalizing their roles, had that creepy vibe that makes empathizing with them difficult for me. While maybe that is what the director aims to achieve, this undignified portrayal of Will and Stone as private individuals detracts from my appreciation of this film as a whole.

US Army Staff Sergeant Will Montgomery (Ben Foster) is a hero severely injured in Iraq with only a few months left. He is reassigned as part of the Casualty Notification Team. He has an affair with his ex-girlfriend Kelly (Jena Malone) who is engaged with somebody else. He is teamed up with Captain Tony Stone (Woody Harrelson) who treats his work seriously. They go to inform Olivia Pitterson (Samantha Morton) but she seems unconcerned. She intrigues Will who starts getting involved in her and her kid's lives.

These are interesting and compelling characters. The performances by Foster and Harrelson are terrific. There are some powerful moments especially some of the notifications. The main plot meanders a bit and feels a bit aimless. It's worthwhile to see the good performances.

I will not reiterate the plot of The Messenger; it has been done exhaustively already. The relevant facts, to me, are: This movie is a work of art in which the intentions of the director, writer, cinematographer and actors are all united. The actors, especially leads Ben Foster, Woody Harrelson and Samantha Morton, give subtle, nuanced performances. The plot is not cookie-cutter; you cannot guess what is going to happen at every turn. It is serious at its core but is not devoid of humor.

Lately, I have been happier with the older movies I see on cable than the movies showing in theaters. This is the exception.

Another gloomy drama depicting what life is like when back home in wartime; this movie features some really great acting performances and a subject that resonates every time very powerfully. The plot hasn't been developed too much, as the story feels more focused on the characters, on their moody and attitudes/emotions. It's about a remarkable direction relying very much on the introspective work of the lead actors. Ben Foster is terrific as a man permanently on the edge, Woody Harrelson excellent as well as one who's crossed the edge already. Impressive is also the approach to heroism, without ever simplifying it and with a strong attention to the story-telling detail. And even though the plot takes a couple of contrived turns, there's a subtle, observant film-making about what's going on inside the characters for a change.

The Messenger (2009)

This isn't at all about great movie-making, but about a great idea with two knockout performances. To see grief this way, almost first hand, and to see how these two soldiers deal with it and are personally tormented by it, is eyeopening. Whatever your view of war, or of the Iraq/Afghan wars, this is one part of the reality. To avoid it is to be willfully blindsided.

But that's it. That's a lot, but that's it. There is the buddy film aspects of the two men (which wears thin, too, fighting drinking, going fishing) and there is something like a love affair at work (which comes with too much foreshadowing), but none of this human element really works on its own. It just supports the whole.

It's a sharp, moving movie. It'll make you cry more than once, if you feel for the actors. And it'll remind you of something we all need reminding of with this much force.

There has been a platoon full of bad Iraq war movies in the past few years, but it seems to be getting better. Kathryn Bigelow's "The Hurt Locker" took home the Academy Award for best picture for 2009, and "The Messenger" is just as engaging if not more so.

Directed by Oren Moverman, "The Messenger" is about least desirable job in the military, Casualty Notification Officer. Ben Foster and Woody Harrelson lead a pitch perfect cast in this intensely emotional film. Staff Sergeant William Montgomery (Foster) is back home recovering from a bomb blast when for the last three months of his service time he is assigned to a local Casualty Notification Team. It is Captain Tony Stone's (Harrelson) duty to show him the ropes. Stone, a Gulf War vet who never saw any real combat, is a recovering alcoholic and a very lonely man. He is like a hollowed out steel statue of a man, who has had to always keep a stern dignified face while delivering the worst news a family could possibly get. Sergeant Montgomery is a very skilled, very smart soldier but wonders how long he could last and against all protocol and judgment starts up a relationship with the widow of deceased soldier, played by Samantha Morton. This relationship is handled very well and like the rest of the film is grounded in reality.

The notification scenes are absolutely heart wrenching and feel as real as it gets. Director Moverman really did his homework on the material and wrote a fantastic script. He then surrounded himself with a group of the finest actors and craftsmen around and made a truly moving film. As for Woody Harrelson you kind of forget how good an actor he is. After last summers horror blockbuster "Zombieland" he proves time and again the kind of range he has. Then there is Ben Foster who has quietly built a reputation as one of the finest actors around with roles in big budget films and small independent films like this one.

The DVD has a 25 minute documentary about Casualty Notification Officer, a commentary track and a few other extras. A definite must see!

The Messenger is yet another one of those films I would recommend unequivocally to others but not to myself. It is a powerful, character driven piece exploring much more than its title suggests. While the film does deal with two men who are casualty notification officers, the film is also about trauma, kinship, brotherhood, and discovering emotion in stoicism. The Messenger does not intend to be or even so much as attempt to infuse its grim subject matter with entertainment. Rather, it is a meditative piece realistically and skilfully examining its themes. Woody a Harrelson and Ben Foster are first rate in this film. Foster plays a war hero who is numb and even indignant at the sacrifices the army has forced him to make. He gave up his girlfriend, and his fellow comrades were killed in front of him while he was serving. He is a man full of emotion which ah s gradually been numbed and taken away from him. Captain Stone, the character played by Harrelson meanwhile, is in a similar state. His ability to live and laugh have been stripped from him by his disagreeable job which, he believes, requires utmost stoicism and emotional detachment. When the war hero is assigned to this Captain, they develop a kinship, a brotherhood which helps them overcome their emotional problems and disdain for the army. In a memorable final scene, the stoic captain stone weeps like a baby, while Will goes forth to chase the Woman he loves. It is to the directors and screenwriters credit that The Messenger never becomes too soppy or too abstruse, ensuring that despite the weighty subject matter, the audience is engaged, even interested in what our characters have to hear. Regardless, The Messenger is an extremely dark film, and most of the film is permeated by a dour lack of emotion. Technically, The Messenger is a superb film, but it's lack of entertainment value was not for me, and I should imagine it's Low IMDb score is testament to that. Regardless, I can recommend The Messenger to anyone without a shadow of doubt, and those who enjoy meditative, character driven pieces will find The Messenger a brilliant work.

Life for Will Montgomery (Ben Foster) and Tony Stone (Woody Harrelson) is not pretty. They have the unenviable job of being a part of the Army's Casualty Notification Service. In other words, they have to tell the soldier's next of kin that their loved one has died. As one can imagine, this is not an easy task to perform, and it isn't any easier for us to watch.

This is a wonderful film, but the first half hour or so is like Independent Film-making 101. It shows what they do in an understated way to add a gritty sense of realism, and then afterwards the characters spout their philosophies of life and what not over drinks (well, at least Will does. Tony's been in AA for three years). This part is well-acted, so it's somewhat effective. But if you've seen a lot of Oscar bait films over the past few years, it seems a little redundant.

Fortunately, the film takes off about at half hour in, when Olivia Patterson enters the picture. She's played by the always exceptional Samantha Morton, so if anything, this should be a great time to have the film take off in a new direction. Olivia may not be a central character, but her character leads to some interesting developments, and co-writer/director Oren Movermen takes advantage of the opportunity.

The performances in this film are nothing short of amazing. Ben Foster is probably one of the most versatile young actors out there these days. It's a shame that movies are filled with teen idols with no talent (i.e. Robert Pattinson, or any hunky actor aimed at the "Twilight" crowd) are brought to the big time, while guys who actually CAN act, like Foster, are left to struggle. Granted, actual "actors" probably have the good sense to stay away from crap like "Twilight," but you get my point. Whatever the reason, Ben Foster is incredible. He's a nice guy, a little softspoken, but we can feel his pain about the emotionally painful job that he has to do. Likewise, Woody Harrelson is exceptional as Tony. Harrelson is known for his off-the-wall comedy appearances that would be at home in a Farrelly Brothers movie (he starred in their film, "Kingpin"), but he gives his best performance to date as Stone. He's a tough as nails, by the book kind of soldier, but he's also very vulnerable, particularly because of his alcoholism, and probably because the job he has affects him more than he would ever admit, and he's touched by Will's humanity. Samantha Morton is fine in a supporting role, but this film is more about Will and Tony than anything, and her romance is not especially important anyway.

Oren Moverman adopts a low-key but emotionally attuned tone for his film, and I was reminded of another Iraq war film, "In the Valley of Elah." However, this film works because it solves the problem that Paul Haggis' film had. We feel for and understand Will and Tony in a way that we didn't for Hank Deerfield.

As one might imagine, this is not a happy film, and some scenes are particularly hard to watch. But for those who like good cinema and outstanding performances, "The Messenger" is not to be missed.

This is some powerful stuff. It's not easy seeing people receive the worst news of their lives, over and over. Even when you know that what you're watching is not real, it's hard to forget that it's based on what actually happens every day. Each notification scene was like a nail in the heart, and that's not an exaggeration.

The rest of the movie isn't quite as poignant, but it's still worth watching. The Messenger is the story of a war hero who returns home, and is given the duty if notifying the next-of- kin of war casualties, for the last three months of his service. He's been wounded by his experiences, and his encounters with the family's of the dead (and one woman in particular) provide the driving force of the plot. But it's the way that those notification scenes are filmed - so raw and realistically uncomfortable - that will remain in your mind after the movie is over.