Five medical students, obsessed by what lies beyond the confines of life, embark on a daring experiment: by stopping their hearts for short periods, each triggers a near-death experience - giving them a firsthand account of the afterlife.
Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
When the network of satellites designed to control the global climate starts to attack Earth, it's a race against the clock for its creator to uncover the real threat before a worldwide Geostorm wipes out everything and everyone.
Bodies are turning up around the city, each having met a uniquely gruesome demise. As the investigation proceeds, evidence points to one suspect: John Kramer, the man known as Jigsaw, who has been dead for ten years.
Callum Keith Rennie
Stranded after a tragic plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow-covered mountain. When they realize help is not coming, they embark on a perilous journey across the wilderness.
Medical students begin to explore the realm of near death experiences, hoping for insights. Each has their heart stopped and is revived. They begin having flashes of walking nightmares from their childhood, reflecting sins they committed or had committed against them. The experiences continue to intensify, and they begin to be physically beaten by their visions as they try and go deeper into the death experience to find a cure. Written by
In July 2016, it was announced that Kiefer Sutherland, who starred in the original, would return in the new film. Sutherland later disclosed that he was reprising his role from the original film, adding that the new film is actually a sequel rather than a remake. Despite the announcement, Sutherland played a character with a different name than in the original, with no reference to the specific events of the previous film. See more »
In the morgue when Marlo calls Courtney's cellphone, it shouldn't be able to ring because of a dead battery. Later in the movie, in the cafe we see that Courtney never stopped, and dropped her phone when she was haunted by her dead sister in her own house. So the phone never stopped filming until the battery died. See more »
[in the evening before his flatline]
It's a great day to die!
See more »
Look, a lot of remakes or reboots or whatever you want to call them
(Rebooquel sounds like something that might come from outer space so
the less said the better), they are the same because they are based on
the foundations of either good or great films - sometimes they can be
something else that is interesting, but with the rare exceptions they
don't improve on the originals. Flatliners had the potential, however,
to be something more since the 1990 Joel Schumacher film was not very
good, though it certainly had its ambitions and young stars who were
game for a Frankenstein-cum-Elm-Street premise. The saddest thing is
the remake does nothing visually to distinguish itself, and more
infuriatingly does diddly squat at the script level to find new ideas
for its premise.
Think about it: you can get someone to use some medical equipment to
stop your heart, wait for a minute or two (or more!) while you are
dead, and then can resurrect you so one can see what you went through
while in that almost-all-gone phase of deadness. Is there a "light" at
the end of the tunnel, or anything else? That's the meat that the 1990
Flatliners hung itself on, and while the script was mostly
(surprisingly) under-cooked, in Schumacher there were no lack of off
the wall visual ideas and the production design was off-balance, but it
was certainly never boring. The 2017 Flatliners from the Swedish
"Dragon Tattoo" director Oprev (and written by, of all people, the guy
who scripted Source Code) is not interesting visually or striking in
any way. This has the visual panache of tax attorney.
There is also some major mistaking going on at the casting level; at
the least when you had that movie back in the 90's, you had that cast
who had charisma to burn and could play off each other well (Oliver
Platt had something to prove, man!) Here, with the exception of Ellen
Page, no one is really bringing anything to the table and what the
filmmakers have them do through the run time is either run-of-the-mill
in terms of the story, or they kill off the *one* character that could
keep us engaged with the material. Oh, and Keifer Sutherland shows up
as discount House, MD, and what COULD be a connection to the original
film - is this a sequel, may-hap - never materializes, making it simply
an easy paycheck.
Why was this made if not a chance to explore some narrative or visual
possibilities in the genre? Why not make it scary and push the R rating
(this is PG-13) for audiences who are ready for a dark, suspenseful
psychological thriller where young medical students who should know
better have to grapple with the bad s*** they've done? This Flatliners
isn't interested in that, either, and each character (Page included,
and I don't count Diego Luna as he's the one who doesn't go for the
flatlilining, and all we know about him is he's an ex-fireman, so who
cares) has one note and only one trauma they have to re-experience in
their half-hallucination-half-real state. The flaws from the original
are not corrected, and the laziness amplifies it all. Not to mention at
110 minutes this feels punishingly long, and when the aforementioned
character is out of the picture there's another half hour to go that
feels like FIVE hours.
This is bland, stale, overheated garbage that made me literally BOO in
my seat once it was done, not for anyone in particular in the theater,
just because I could do it. It's one thing to get a remake that
disappoints simply for existing (i.e. Ghostbusters last year), but it's
another when you see what could have been in the hands of a twisted,
hungry auteur out to show some shocking things - picture, for example,
Tarsem circa The Cell, or Leos Carax or something - or a filmmaker who
might want to just use the material for a straight drama and not go for
the horror, which could also be done. Instead, Flatliners is stupid
when it's not dull, and yet it's not stupid often enough to be an
overall enjoyably bad movie (I did laugh here and there, but too little
and too late). It's everything that is wrong with what SONY is
currently doing in an overlong 110 minute package.
39 of 53 people found this review helpful.
Was this review helpful to you?