The director took risks making this movie and most of them come through although a couple don't, but hey that's what taking risks is all about. Life is more about the mortician and his personal demons than it is about the corpse he's treating or the distraught boyfriend. In the end, we get the sense that Wojtowicz-Vosloo wants us to lean one way about Anna's dead-or-not fate, but the story's largely ornamental trappings actually make more sense the other way. She does not pee or poo or get hungry or thirsty. Non-profit,educational or personal use tips the balance in favor of fair use.
Life, but the criss-crossing between drama, thriller, and horror is nothing if not arresting. But she stubbornly clings to the hope of rejoining the realm of the living. Life offers a multitude of possibilities to the audience and allows us to pick and choose among them. Life is one of those curious movies with A-list talent but B-list distribution. We will not send you any commercial emails or solicitations. Eliot expects this and is why he provokes Paul.
Elliot who appears calm and collected under the surface may have a hidden agenda. Eliot Liam plays the role of a funeral home owner. 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. While there are some very scary moments and surreal glimpses of the beyond, the tone of the movie is more one of steadily mounting apprehension and dread. Anna Christina Ricci and Paul Justin Long have been together for quite some time and although Anna seems to be pulling away, Paul is still madly in love with her.
No, the little boy Jack sees her too, through a window. For about half of the film, Ricci is dressed in a slinky red undergarment. She has no pulse, and we assume her blood has been replaced by embalming fluid. Elliot visits her regularly as she tries to cope with death. As Anna initially tries to escape her boyfriend Paul Justin Long is not convinced and begins to suspect Eliot Deacon is not what he seems.
Tragically, he never gets the chance, as Anna dies in a car accident on her way home that night. Christina Ricci, while no Ingrid Bergman, delivers a credible performance even though she is slashed with cherry red lipstick and alternately nude or scantily draped in a clingy, scarlet satin slip for most of the movie. The bottom line is that this is all boring. Could it be that Anna isn't really dead? Eliot drugs her and the funeral ceremony begins. He has been working with these people for years. These dead people talk to him too.
The work late at night. Her attitude is negatively affecting her relationship with her boyfriend Paul Justin Long. What seems like every scene presents a new clue as to Anna's true state that contradicts the previous clue, and the constant toying becomes so wearisome that you stop bothering to figure it out. It was a powerful idea to me. Eliot convinces her he has the ability to communicate with the dead and is the only one who can help her. Anna breathes onto the mirror and it fogs. But at the precipice of life turning to death, Eliot wants to know if these people can change.
Life as a chic, sleek, and thoughtful excursion into the macabre without the obligatory Hollywood formulas. The overall sense of dread and incredibly creepy atmosphere. All of these would have been proof that she was alive. He is menacing in a way that only low-key individuals can be. In the end Paul dies too and will be helped in crossing over. Regardless, there's so little human connection in the story and conversely so many that you just don't care about what happens to the characters.
Anna walks in a slightly awkward way that hints at a growing loss of muscle control and her pale appearance is what one might expect from a zombie, even though it manifests itself while she is still alive. Not for those wanting cheap scary trills, a real original creepy thought provoking triller. And perhaps the greatest dread he evokes occurs when he takes on a young apprentice. Deacon, as a mortician, has to put up with this. Eliot convinces her he has the After a horrific car accident, Anna wakes up to find the local funeral director Eliot Deacon preparing her body for her funeral.
Red, of course, is the color of life and intense emotion, and those elements are in play here, although perhaps there is an element of irony in their presentation. I admire filmmakers who take chances and defy expectations. Amazon and the Amazon logo are trademarks of Amazon. And even though the special effects in After. It's a little creepy to watch Eliot Deacon Liam Neeson speak gently and patiently to a body he is working on - and even more odd when the corpse of Anna Taylor Christina Ricci starts talking back to him. Life certainly looked to have that potential, but wound up being another mediocre and predictable horror film.
Wojtowicz-Vosloo favors red - and not pale reds but bright scarlets. Instead, we are shown Paul continuing to drive in an empty street, reaching the cemetery and rescuing Anna from her grave. Because she looks pretty darn hot for a dead gal. Jack tells her boyfriend Paul. Anna dies her hair a reddish-brown shortly before her demise.