Peter Morgan, who’s written fantastic films like Frost/Nixon, and The Queen, wrote the script for Hereafter.  It’s kind of a lite version of Babel, the story spans three seemingly unrelated stories across cities (San Francisco, London, and Paris) that end up sharing more in common than is immediately apparent.  There’s the authentically talented psychic (Matt Damon) who calls his skill a curse.  There’s a French television journalist, who died for a few moments while in the throes of a Sri Lanka-esque tidal wave, and has what she decides is a vision of the afterlife.  And there’s a young Brit, who loses his twin brother in an accident, and his heroin-addict mother to social services.  And in the most forced, and unbelievable scene in the film’s two hour run time, the three meet up at the London Book Fair.

Eastwood does deserve praise for the particularly well shot opening scene involving the French journalist and the tsunami she’s swept up in.  It’s tight, and dramatic and feels dreadfully realistic, literally eliciting a level of anxiety rare for even horror films.

The early scenes in France take place in French, and only turn to French-accented English half-way through the film.  But Eastwood’s antiquated version of Europe, where hospitals are quaintly historical, and secluded buildings nestled up against picturesque mountains, seems overly-simplistic.  Similarly, his British characters are never demanded more than to have serious vices, and even more serious faces.  A bit of multi-dimensionality would have have added to the ruminative tone.  Despite these complaints, Eastwood still provided a certain amount of satisfaction when it comes to these characters.  They may not be the most compelling characters, but on some level, I cared about where they were headed, and even more so, where they ended up.

Most off putting about the film, however, is its entire view of the hereafter.  It rings overly nostalgic, but at the same time, tepid in its convictions.  Perhaps this is the cynic in me.  The subject matter clearly discourages a definitive stance on the issue.  It is, after all, something no one really has first-person experience.  However, Eastwood had an opportunity to take us their with the film, and bring us back to make our own conclusions.  Instead, sentimentality, and a scarcely believable love story take center stage.

3 out of 4 stars

The story is based on true events that came to pass in Los Angeles in the 1920s and 30s.  Christine Collins is a single mother, raising her nine year old son.  She works as telephone operator (and a damn good one at that).  She’s called into work on a Saturday, and leaves her son Walter at home.  When she returns, he’s gone.  She seeks the help of the insanely corrupt LAPD, but is met with ambivalence.  Five months later, the police return a boy that is four inches shorter than Walter, and doesn’t look like him at all.  When she tries to convince the police that it’s not her son, she’s thrown into an insane asylum until she’s willing to admit that the boy returned is, in fact, her boy.  Assisting her in her fight is Gustav Briegleb, an outspoken reverend who uses his weekly radio broadcasts to expose political and police corruption.  Also sprinkled in is a completely insane Canadian serial killer that may or may not have killed Christine’s son.

The drama is ultra compelling.  The lengthy two hours and twenty minutes flies by as Eastwood deftly works his magic.  And who could want a more talented cast than Angelina Jolie, John Malkovich (who plays the good Reverend), and Amy Ryan (who plays one of Christine’s fellow internees at the asylum).  Jolie is an acting tour de force who may have given the best performance of her career, if the Academy ignores her again (they completely ignored her compelling performance in A Might Heart) they need punched in the face.  The script writing was also a feat, albeit it slightly surprising, coming from J. Michael Straczynski who spent most of his time until now writing for Babylon 5 and Walker, Texas Ranger.  The chief complaint of most critics thus far is the fact Changeling gives into convention far too often.  While the plot is slightly formulaic, it doesn’t deter how much you’ll enjoy this film.  Don’t let the trailer fool you into thinking this is a light, sad story about a wronged mother either, it’s dark, really dark, and fantastic all the way.  Don’t listen to the naysayers, this is one terrific film.

3.5 out of 4 stars

Rottentomatoes: 54% – Cream of the Crop: 46%