This may be the only Joel Schumacher movie that holds any potential but being from Joel it's still a mess. Kudos to whomever came up with the Chicago-based update of D.W. Griffith's "creative geography"; in which editing two completely different locations together produces a new geographic reality. In this case various Chicago interiors, a set in Hollywood, a real location on the north side... end up being inside the Museum of Science and Industry way south of the Loop. This is the most enjoyable aspect of the movie. An obsessive production design which highlights building repair and fragmented statues is also intriguing. The space created in this movie is dark and interesting.
However Schumacher, who came into his own in the coke-sniffing seventies, doesn't really have the vibe of any other period; and has always had really stupid ideas about what was a complete script; none stupider than St. Elmo's Fire. I'm sure that Schumachers dream project would be an even shallower remake of Xanadu. Ooooh just imagine all the pretty colors!
The premise of this movie is "Let's find out what happens (experientially) at the moment of death." Schumacher comes up with: The most difficult, regret-filled moment of your life flashes before your eyes and follows you back into your life to torment you. ...Meh! Maybe a decent writer could do something with that, but here it's super limp and unsatisfying; Why didn't the plot enliven the lore already in the culture about what occurs at the moment of death, instead of inventing this option? The worst thing you did in your life was pick on a student? Oh, heavens to betsy! I myself live with the horrible regret of stealing some gum once from a convenience store. My evil is really, uh... tearing me up; Hey Schumacher! What was your 2nd, deeper, more sensible idea about the after-life?
The movie ends up being some compelling visuals in search of a decent script and plot.
I haven't seen a single movie where Oliver Platt shouldn't be shot for his terrible acting. True to form, you should hide your gun before viewing this. He's excruciating.
However Schumacher, who came into his own in the coke-sniffing seventies, doesn't really have the vibe of any other period; and has always had really stupid ideas about what was a complete script; none stupider than St. Elmo's Fire. I'm sure that Schumachers dream project would be an even shallower remake of Xanadu. Ooooh just imagine all the pretty colors!
The premise of this movie is "Let's find out what happens (experientially) at the moment of death." Schumacher comes up with: The most difficult, regret-filled moment of your life flashes before your eyes and follows you back into your life to torment you. ...Meh! Maybe a decent writer could do something with that, but here it's super limp and unsatisfying; Why didn't the plot enliven the lore already in the culture about what occurs at the moment of death, instead of inventing this option? The worst thing you did in your life was pick on a student? Oh, heavens to betsy! I myself live with the horrible regret of stealing some gum once from a convenience store. My evil is really, uh... tearing me up; Hey Schumacher! What was your 2nd, deeper, more sensible idea about the after-life?
The movie ends up being some compelling visuals in search of a decent script and plot.
I haven't seen a single movie where Oliver Platt shouldn't be shot for his terrible acting. True to form, you should hide your gun before viewing this. He's excruciating.