Hereafter
Warner Bros. Pictures | Release Date: October 15, 2010 CRITIC SCORE DISTRIBUTION
56
METASCORE
Mixed or average reviews based on 42 Critic Reviews
Positive:
17
Mixed:
21
Negative:
4
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Critic Reviews

Critic scorePublicationBy date
60
SlateDana StevensOct 21, 2010
Though I found Hereafter meandering and occasionally sentimental, I couldn't help but admire Clint Eastwood's ambition in taking on-headfirst-the greatest fact of human existence. Read full review
60
NPRBob MondelloOct 21, 2010
It's as if everyone involved in the film figured they could keep Hereafter from turning ghost-story hokey by making it grounded, beautiful and matter-of-fact. And it sort of works. There are no inadvertent giggles here; it just doesn't add up to enough, after. Read full review
55
MovielineStephanie ZacharekOct 21, 2010
It's hard to know how much of what's wrong with Hereafter stems from Morgan's screenplay, which lacks the characteristic tartness (and brains) of other movies he's written, like "The Queen" and "Frost/Nixon." Read full review
50
St. Louis Post-DispatchJoe WilliamsOct 24, 2010
His (Eastwood) first boring film. Read full review
50
Austin ChronicleMarjorie BaumgartenOct 21, 2010
Hereafter is a consistently identifiable Clint Eastwood movie only in the sense that the prolific filmmaker shows that he still has the ability to confound our expectations of him. Read full review
50
Washington PostMichael O'SullivanOct 21, 2010
It starts out with a tsunami - and ends up standing in a puddle. Read full review
50
Charlotte ObserverLawrence ToppmanOct 21, 2010
Damon, trapped in an inert character, shows little inner turmoil. Read full review
50
Miami HeraldRene RodriguezOct 21, 2010
Starts out feeling formidable in scope and theme but ends up awfully small and precious. Read full review
50
New York Magazine (Vulture)David EdelsteinOct 21, 2010
Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story. Read full review
50
The New YorkerDavid DenbyOct 21, 2010
It's the first boring performance of Damon's career, although the bland inertia may not be his fault. The way Eastwood stages the "readings," they hold no terror for George. Read full review
50
The A.V. ClubNathan RabinOct 21, 2010
Just because a film takes place entirely in the long shadow of death doesn't mean it has to be this relentlessly dour. Read full review
50
Tampa Bay TimesSteve PersallOct 21, 2010
Hereafter doesn't feel like a Clint Eastwood film; it's more like a very special edition of John Edward's psychic TV show. Read full review
50
Chicago TribuneMichael PhillipsOct 21, 2010
Morgan and Eastwood are scrupulous in keeping their notions of the afterlife as general and inoffensive as possible. They have no religious or spiritual worldview to sell. As I say: Many admire this film to no end. I found its use of recent tragic events, including the London underground bombing, to be more than a little cheap. Read full review
50
Boxoffice MagazineVadim RizovOct 21, 2010
Though Hereafter has plenty to give you pause: its plot flatly insists there's an afterlife without really doing much with the matter, metaphorically or otherwise. Read full review
50
The Globe and Mail (Toronto)Liam LaceyOct 21, 2010
Hereafter is unpredictable enough to be consistently watchable. Read full review
50
New York PostKyle SmithOct 21, 2010
When an 80-year-old director turns his attention to death, you hope for some insight, or gravitas, or even whimsy or anger. Hereafter has none of that. Read full review
42
Christian Science MonitorPeter RainerOct 22, 2010
Eastwood and Morgan are not con artists, but their awe here is so unblinking that their film comes across as a transcendent con job. Read full review
42
Portland OregonianMarc MohanOct 21, 2010
It isn't a lack of realism or philosophical consistency that rankles most, though, but rather the anticlimactic story and uninteresting characters that make this Hereafter not very sweet at all. Read full review
40
EmpireWilliam ThomasJan 24, 2011
Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard. Read full review
40
Time OutJoshua RothkopfOct 21, 2010
What was Clint thinking? (Or Martin Scorsese, when he made "Shutter Island," for that matter.) Read full review
40
SalonAndrew O'HehirOct 21, 2010
A movie that opens with a sensational bang and then proceeds to pursue the Big Questions about life and death in lovely, lugubrious and increasingly off-putting fashion, until all its drama has been frittered away in a dreamy, drifty haze. Read full review
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