After...

This movie keeps your attention. I didn't like the extreme camera angles. Guess that is how this kind of movie is suppose to be. But it made it hard to focus on what was happening. The lighting was amazing, however.

The acting seemed flawless. I am not an expert on these things, but over all the actors and all seemed good. I saw it at a special screening and many people seemed to like it even better than myself. Loved the music of course - GO Crystal Method!!! I wanted a more uplifting story - that probably would seem cheezy in a movie like this though.

Director David L. Cunningham takes the audience on a rough-edged ride with three extreme thrill-seekers, running us out of the blocks with a dramatic BASE jump and hauling us into Moscow's underground subways, chiefly the infamously secret Metro-2 line purportedly built in Stalin's time. Guerrilla-style in the actual tunnels, this is head-spinning film-making, an experience where rushing trains rattle your teeth; when a character scratches his neck, your neck itches too; and you feel irradiated an hour in. Without giving it away, the movie's a head- flip on a story level too, as screenwriter Kevin Miller and Cunningham rope in themes of love, guilt, regret, and bottomless loss so densely with the adventure that you're still sifting through them long after the credits have played.

The sharp intimate scenes and claustrophobic mood are highly suited for DVD view.

Erratic camera-work, extreme close-ups, shifting focus, and rapid cuts: when utilised sparingly by a proficient director working in conjunction with a skilled editor, these movie-making techniques can help to effectively convey urgency, panic, and terror; however, in the hands of a less talented film-maker, one who lacks the finesse and experience to make judicious use of such methods, the results can be virtually unwatchable. Such is the case with David L. Cunningham's After.

I've seen a lot of bad films in my time, but there are very few that I loathe with such intensity as this virtually unwatchable mess, 76 minutes of migraine inducing garbage during which Cunningham never once uses a tripod, rarely sustains a shot for over a second, dispenses with such trivialities as keeping his picture in focus, and shines as many bright lights directly into the camera lens as humanly possible.

If all of that wasn't bad enough, the plot is completely unfathomable for 99% of the running time, after which all becomes clear(ish) with a trite twist ending that didn't even seem all that fresh over two decades ago when Adrian Lyne used it for Jacob's Ladder (a film that After clearly strives to emulate).

I liked how it kept you guessing, and then it all comes together in the end with a very interesting plot. The characters could have used a more of a background. But in some ways that adds to the intrigue. The camera work is a bit distracting, but once again it sort of draws me into the story all the more. I liked it overall.

The sets were incredible. It looks like the real deal. Maybe it was? I want to see it again, and look closer this time. Can't wait until the DVD comes out.

The screening I was at was awesome, great sound and picture. The movie is short, but so intense it seems much longer.

i may have to watch it a few times to get it but ..other than trying to watch it during the dark tunnel scenes.. its pleasing to the eye and the dialog doesn't make me wanna puke and the music is great! I could actually feel dads grief. i am kinda confused about the ending but i am still trying to muddle thru realty and whatever was going on elsewhere.So all in all give this movie a chance.. maybe have a shot of tequila to keep you company and just enjoy the visual effects and the movie and maybe in a dream it will all come together for you. I did watch it on an HD 70 inch LCD so i think that helped a little and i paused it when i was confused.. which was quite a few times.