How does the film afterlife end

The plot is great because first it makes you think one way, then there are clues as to what is really happening, then the truth is presented in your face. Some people say there are plot holes, but I think all of the supposed plot holes are easily explained along the lines of what really happens in the film.

Christina Ricci is phenomenal in playing this tormented character, adding much realism into the film. Just pay attention to all the details in "After. Life", and you will find it is a well constructed thriller. This film written by Agnieszka Wojtowicz-Vosloo, Paul Vosloo, Jakub Korolczuk and directed by Agnieszka Wojtowicz-Vosloo tells the story of a school teacher,who dies on a car accident after she got upset when her boyfriend was about move to Chicago.

After the accident, she wakes up facing a mortician in Eliot Deacon at a mortuary. The film deals with the five process of death from denial, anger, bargaining, depression, and acceptance. During these process, we get to scenes go through between the school teacher and the mortician as well as the former's relatives from her boyfriend, her mother, and her student.

We get to see how the school teacher initially denies death and the anger that she feels especially with the possible sadness that the people close to her may feel.

But as she goes through this, the mortician makes an effort to accept that her life has ended and to accept the fact that everyone's life ends. Then we get to see her once again tries to bargain about being still alive and the depression she obtains when she finally realized that her life has ended until the conclusion wherein she looks great which signifies that she has accepted her fate that her life has truly ended.

The movie is good enough considering it presents a hypnotic tale about death and the emotions the person as well as the person's relatives may feel during that event. The acting is commendable particularly Ricci and Neeson particularly their exchange of words as the school teacher and the mortician respectively. Overall,this is a good film that would interest the viewer and it deserves a better rating that it currently has at IMDB.

Scarecrow 8 August The dead often speak to us in different ways. LIFE concerns, we assume, a dead young woman, a school teacher, who debates with a mortician over whether or not she is indeed deceased as he prepares her for her own funeral.

Director Agnieszka Wojtowicz-Vosloo fashions quite a morbid tale about the importance of appreciating life when faced with the imminent approach of death. Is Anna Christina Ricci in that state between life and death or is the mortician, Eliot Deacon a creepy Liam Neeson , harbouring sinister secrets? Justin Long is Paul Coleman, a promising lawyer who was Anna's boyfriend.

Paul wants to see Anna one last time before her funeral, yet Eliot insists he can not due to his not being a member of the immediate family. Paul, however, has convinced himself with help from a child student of Anna's, Jack, portrayed by Chandler Canterbury that Anna may in fact be alive and will attempt to "save her" without much help.

I would suggest, if you do not want all the answers, to avoid the DVD interview with Agnieszka Wojtowicz-Vosloo because she pretty much tells everything. But, she certainly cast plenty of doubt Eliot's direction; he seems suspicious enough. What we see happening as Jack starts attending funerals and talking with Eliot is the possible "indoctrination" of another into the fold.. Jack might have the same "gift" Eliot has.

Or does he? Lots of questions arise as to whether or not Eliot can speak with the dead or if he's simply not who he says he is. LIFE just to get their rocks off will have plenty of motivation to do so. There are long, lingering shots of Ricci, even if she carries an appearance of someone who had recently died there are signs she might be "held hostage" through psychological means , her naked body's form is positively beautiful.

Long gives a strong performance as a desperate man who alienates those around him because he wishes to convince someone Anna might be alive and in need of assistance, with the obvious reaction of "you need to let go and accept her passing" from those who know him. I imagine Neeson will make many viewers skin crawl, he had that effect on me.

There's a contempt in his voice when Anna questions her mortality, and he is skilled at preying upon her vulnerable state, able to somehow avoid times when she could actually kill him she does, at points in the film, get her hands on scissors and a butcher knife. LIFE, that we feel strongly that she should do whatever she can to escape, but each and every attempt fails mostly because Anna herself perhaps buys a lie due to the success of Eliot's methods of persuasion.

Kudos to Ricci for such a difficult part, she had to remain in various states of undress for quite a bit of screen time, but, to me, she seemed quite comfortable with her body which only benefits her many admirers. LIFE a bit tough to take. Acclaimed author of American Gothic horror and whodunit detective fiction Edgar Allan Poe wrestled his entire life with the morbid fear of premature burial.

Meaning, you awaken and find yourself trapped in a coffin underground. Eventually, you suffocate to death. If Poe could watch the movie "After. Like," he would probably appreciate it. This creepy, atmospheric chiller from freshman director Agnieszka Wojtowicz-Vosloo won't scare you enough to make you sleep with the lights on after you watch it.

Nevertheless, what we have here is a prime candidate for either a "Twilight's Zone" or "A Night Gallery" episode. The lack of surprise-laden revelations is usually the sign of a lackluster movie, but this wickedly smart mind-bender luxuriates in its indie-produced, low-budget respectability. The production values are first-rate, and the graveyard looks worth spending an afternoon in with a digital camera.

The biggest surprise of sorts that "After. Life" springs is the change-of-pace role for Liam Neeson. Neeson doesn't make horror movies so "After. Like" is rather refreshing for him. Furthermore, Neeson doesn't often play the villain. Neeson has a field day as sinister funeral home director Eliot Deacon who has attitude to spare.

Mind you, Eliot is not your run-of-the-mill mortician. He claims that he helps the dead make a smooth transition into death. Neeson delivers a low-key, restrained performance, but you can see the pressure bubbling underneath his mask of impassivity. Eliot is really just a misunderstood fellow, and he cannot believe the idiocy of the living.

An unhappy elementary school teacher, Anna Taylor Christina Ricci of "Monster" , dies in a highway traffic accident. During a storm she loses control of his vehicle while juggling her cell phone and collides with an wheeler hauling metal pipes.

The relationship between Anna and Paul had been in a nose-dive for some time. Every time they meet each other, their conversation eventually erupts into a quarrel. Ironically, Paul tries to propose to Anna at the restaurant, but Anna believes that he has brought her a high-priced dinner so he can dump her. Paul explains that he is going to accept a higher-paying job in Chicago with more responsibility.

He plans to propose to Anna, but she jumps to the wrong conclusion, makes a scene, and exits the restaurant. Futilely, Paul tries to stop Anna from leaving the restaurant. Suddenly, she winds up in Eliot Deacon's premises, but Anna refuses to believe that she is kaput. Indeed, she has a minor but nasty gash on her forehead that Eliot stitches up for her. For all practical purposes, Anna does seem alive and kicking. After all, she argues, she can sit up, walk around, and talk.

No matter how many times Deacon reminds her that she is dead, she believes that she remains alive. Eliot shows her the death certificate with her name and date on it. Their relationship grows gradually more contentious. One of Anna's students, eleven-year old Jack Chandler Canterbury of "Knowing" wanders around on the fringes trying to find out what is going on, too. Jack and Eliot get along and Eliot promises to teach Jack what he knows about the dead.

Wojtowicz-Vosloo generates some tantalizing suspense and tension, particularly in the last quarter hour of "After. Life" when Eliot holds Anna's funeral and poor Paul can finally say farewell to the love of his life. Later, our heroine has her worst fears confirmed when she finds herself conscious in a casket as the dirt hits the lid while they bury her. Previously, Anna had demanded to see herself in a mirror before Eliot paralyzed her with another injection of hydronium bromide to keep her calm during the ceremony.

Red-blooded, heterosexual guys who crave the sight of bare female flesh may find themselves gaping when Ricci displays her cadaverously pale but sublimely alluring nude body without a qualm in all its supple pulchritude. She really looks like a sexy goth gal reclining on the marble-white slab in a homage to Botticelli's Venus.

The latest generation of filmmakers all but shun full frontal female nudity, but Wojtowicz-Vosloo integrates it so seamlessly into the narrative that it doesn't seem gratuitous.

The ending is just what you would expect from a devilish horror movie. Essentially, there is only one objectionable scene when our heroine is groped by tree roots during a ceremony with ashen-faced old women standing around chanting.

Life" qualifies as a revisionist horror thriller because evil triumphs in the end over virtue. Not dead, it just felt like it neil 25 July Christina Ricci and Justin Long have problems in their relationship which remain unresolved when she is killed in a car crash.

She is puzzled to wake up on the mortician's table Liam Neeson, affecting a cross between avuncular and creepy , to find out that he can talk to the dead to help them accept their death. Except maybe she isn't dead, and this is just his little hobby. Also, there is a creepy kid with a creepy mother. Also, Justin Long thinks she may still be alive This is a decent set up, with a decent cast. Which is why it saddens me to say that this really isn't very good.

To be specific: 1. It is horribly slow. It takes forever to get to the point. It is full of points where the unlikely events could be easily turned on their head and the problems solved when Neeson is injecting Ricci, surely you need blood to be circulating in order for drugs to work? Not to mention her physical interaction with her surroundings, never mind the breath thing.

There are a number of elements which are never explained or followed up the kid's creepy mother, for instance. The resolution is broadly unsatisfactory, both logically and in terms of emotional payoff.

And it's dreadfully slow. I watched it with my wife and daughter, both of whom also commented - more forcefully than I! In fact, my wife was rendered so indifferent to it that she went off to bed two minues before it ended. LIFE yes, that is a dot between the two words suggesting this may be a video game Not having noticed whether this played in theaters or is one of the direct to DVD films, that question is tough to answer.

It is an interesting hiatus to study and fortunately a cast was selected to portray the characters involved in this internet-like game that makes it watchable.

Schoolteacher Anna Taylor Christina Ricci and Paul Coleman Justin Long are in a rocky relationship: they could be headed toward marriage but Anna has trust issues that prevent her from committing to same. In a rage she leaves the frustrated Coleman, subsequently is killed in a car accident, and is taken to a mortuary where mortician Elliot Deacon Liam Neeson begins preparing her body for the funeral.

Anna is unable to move anything but her mouth and denies that she is dead, a situation Deacon encounters with most every dead body he prepares for burial. And this is where the conundrum begins: is Anna dead or is she alive, kept prisoner by Deacon? Anna's hateful mother Celia Watson visits her daughter's corpse and has few kind words to say.

Paul is devastated, comforted by his colleague Tom Josh Charles , that Anna is dead and visits the mortuary to see the body but is refused admittance by Deacon. One of Anna's young students Jack Chandler Canterbury seems to have a special affinity for the dead and spies on the mortuary where he sees Anna standing in a window. Anna and Deacon have long talks about the after.

As she is buried the facts of the story straighten out a bit, but to reveal those facts would ruin what little suspense there is in this film.

Though the moody atmosphere is well captured by both the director of photography Anastas N. Michos and the musical score by Paul Haslinger, and the presence of Liam Neeson who plays his role very straight and Christina Ricci who plays her role almost entirely in the nude, give the story the requisite creepy effect. Yes, it is corny in many ways, but at least it is a bit different from the formula movies that keep churning out of Hollywood. Grady Harp.

To say that this is a good supernatural horror movie, I would say no. But it really is something special. It is in fact a very slow movie but it didn't bother me because it'a all about, as the title says, afterlife.

After a car accident Anna Taylor Christina Ricci dies and her body is brought to the local funeral director Liam Neeson. But suddenly she awakes, but the funeral director tells her she's dead. From there on the movie goes into the supernatural and sometimes it doesn't.

But what makes the movie good is the performance of Christina, she gives it all here in every part. Liam isn't my kind of an actor surely not after the A-team turkey. I rather would have seen some creepy face instead. But we have to do it with him but he does it like he has to do it. It's the director's first movie and by that I can say she Agnieszka Wojtowicz-Vosloo did well.

But Paul has no support, he has to back down. This kid is a little dark. He has this fascination with death, the dying and dead things. The chick that Jack has in his possession is a dying chick, not yet dead. Jack is attempting to nurse it back to health. When Jack sees Anna at the funeral home, he naturally assumes that he sees the dead Anna.

This he tries to tell Paul. This part is quite evil. Eliot sees a little bit of himself in Jack and agrees to helping him they both have crazy mothers. Later we see Jack bury the chick alive in a box. Eliot has convinced Jack that he needs to bury the beings that are incapable of living.

The chick might be clinically alive but is somehow unwilling to heal and get better. This gives Jack the reason to consider the chick dead and bury it.

Eliot has a successor now. So Anna is alive. Eliot has her convinced that she is dead. She wants to see herself once more before the funeral. Eliot shows her the mirror. Anna breathes onto the mirror and it fogs.

Only Eliot does. She realizes that Eliot has been lying to her. The dead cannot breath warm air. Eliot drugs her and the funeral ceremony begins. Paul arrives to see the apparently dead Anna. He touches her her and reacts by saying how cold she is. Anna is trying to wake up but is unable to, thanks to the drug. This happens in the first scene with the piano teacher too.

Eliot shuts the lid. They bury the coffin. After this, Anna wakes up and realizes she has been buried alive. Paul is dazed, confused and filled with guilt. But he is also filled with suspicion about Eliot.

After having much to drink, Paul confronts Eliot. Paul panics and begins to head over to the cemetery. Eliot expects this and is why he provokes Paul. Paul meets with an accident. The accident is not shown. Instead, we are shown Paul continuing to drive in an empty street, reaching the cemetery and rescuing Anna from her grave.

In reality, Paul gets hit by an SUV at the blind turn. Perhaps the gift is supernatural, or perhaps it's madness or a delusion. The film has many of the classic scenes of horror movies set in mortuaries. The chilling stainless steel paraphernalia. The work late at night. The moonlit graveyard. The burial. The Opened Grave. Even her desperate nails shredding the lining inside the coffin -- although we see that from Anna's POV and no one else's. I think, in a way, the film short-changes itself by not coming down on one side or the other.

As it stands, it's a framework for horror situations but cannot be anything deeper. Yes, we can debate it endlessly -- but pointlessly, because there is no solution. We can enjoy the suspense of the opening scenes, and some of the drama.

The performances are in keeping with the material. But toward the end, when we realize that the entire reality of the film is problematical, there is a certain impatience. It's as if our chain is being yanked.

Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Christina Ricci as Anna Taylor. Chandler Canterbury as Jack. Liam Neeson as Eliot Deacon. Josh Charles as Capt. Justin Long as Paul Coleman. Celia Weston as Anna's mother. Reviews Dead people can be such whiners.

Roger Ebert April 07, Liam Neeson in "After.