Flatliners – flatliners Niels Arden Oplev | Review


Published on Nov 23, 2017


Both before and after Batman Forever and Batman & Robin (brrr) the film career of Joel Schumacher also has some (and considerable) strengths (even with one of his best films, a Time to Kill, came between Batman Forever and Batman & Robin, demonstrating that the director of New York city has always been capable of making a movie: maybe the view of the Bat-signal to put in subjection).

One among these strengths is definitely Flatliners film 1990 produced by Michael Douglas, and with a stellar cast: Kiefer Sutherland, Julia Roberts (fresh from the worldwide success of Pretty Woman), William Baldwin, Oliver Platt and Kevin Bacon, baldi young people who put themselves in the head to discover the secrets of death and of the afterlife (and the things they went of course to scatafascio).

Twenty-seven years later, the unexpected sequel to what in some circles is considered a true cult classic: the direction is entrusted to the Danish Arden Oplev, the director came to international prominence after the success of Men Who Hate Women, the script that Ben Ripley, who also wrote the excellent Source Code of the very good Duncan Jones (who came from the success of the beautiful Moon which would have made the forgettable Warcraft) and the starring roles for Ellen Page, Diego Luna, Nina Dobrev, James Norton and Kiersey Clemons (there will also be Kiefer Sutherland, the only return from the cast of the original film).

The result is a film that, if he had a reason to be among us, wouldn't even so terrible (it is terrible, but in an ideal ranking of the worst movies of the year would be to sit on around the tenth position): the problem, unfortunately, is that the elusive reason for the circles, just isn't there.

Dr. Courtney Holmes (Ellen Page), who has lost his sister years before the beginning of the story of the film, decides to be heart-stopping for three minutes and then get revive by his colleagues (Ray, Marlo, Jamie and Sophia, in order, Diego Luna, Nina Dobrev, James Norton, and Kiersey Clemons) to be able to tell what he has seen from the other side.

The experiment begins and Courtney, from the dead, he lives a strange flight experience (Freud will be very, very present in this film, but this aspect will never be in-depth, let alone) and sees things in a city similar to the one who knows but in some way different (no, that is not the end in the Upside down): his confused testimony enough to convince her friends to follow her and we all start to kill her temporarily, and then be revived in the next minutes, all with the same frequency with which normal people like me and you (me, at least, you don't know) you can make a ham sandwich.

Very soon things mysterious and dangerous will happen to the scientists, and we can breathe a sigh of relief, enjoying the fact that karma exists, and that he who sows the wind collects the storm and the aspects, because, let's face it, these stupid “scientists” you probably deserve everything that is to happen.

Most of the film consists of sequences of walks in the flats/corridors/basements blinds (so Freud) made of noises and music atonal, which should increase the voltage (but also the less experienced audience after the third, fourth, fifth or sixth scene identical to the previous one begins to understand the trick) and the atmosphere from sci-fi horror go by the wayside, buried under an avalanche of cliché visuals that you can find in any other horror, contemporary).

In the course of the 110 minute duration you'll want to stop the heart, but without the cure you have a plan to resurrect.

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