LÍNEA MORTAL

The arrogance of medicinally inclined youth!

I remember coming out the theatre after having seen Flatliners in 1990 and being really annoyed. The premise of the story is so superb and was ripe for a terrifying horror film, but Flatliners then, and now, is not terrifying, but that actually doesn't matter.

In 1990 some of the more bright young acting prospects were off making Memphis Belle, the other half that was made up of potential Brat Packers like Kiefer Sutherland, Julia Roberts, William Baldwin, Oliver Platt and Kevin Bacon, were joining director Joel Schumacher for this delve into life after death experiments.

The tyro medical students, led by a darkly egotistical Sutherland, begin inducing their own deaths to see what awaits once the flatline has been reached. Seems great at first, but as the students push the time limits of being dead still further, what comes into their real worlds is actually not welcome.

Pic is never close to being frightening, but the thematics involved are chilling and the big message at its heart is loud and clear. At times it's an uneasy blend of supernatural dalliances and medical science, but the breezy cast hold engagement, while cinematographer Jan de Bont's misty lenses are perfectly in the realm of the ethereal. 7/10

Stop for a minute and contemplate the fact that Joel Schumacher made this when he was channeling Joel Schumacher and it actually turned out to be a good, compelling, and frightening film.

How the heck did that happen?

I mean, sure, the story was good for a horror flick and it was pretty compelling. And, to be fair, it did have a great case and the acting was beyond par.

So you know, there was a lot working for it despite it being Joel Schumacher in the 90s being Joel Schumacher in the 90s.

I guess what I am saying is that you should give it a shot, despite the director.

Flatliners presents a compelling concept about exploring life after death through risky medical experiments conducted by five ambitious students. The film unfolds with a strong character build-up and escalating tension as supernatural consequences begin haunting them. Emotional depth is explored through personal guilt and unresolved trauma, making each character's journey unique. With impressive acting, effective use of visuals, and a strong moral message, the film remains engaging and thought-provoking. Despite its age, Flatliners delivers a powerful reminder that death—and guilt—should never be taken lightly.

Read the full review here: (Indonesian version : alunauwie.com) and (English version : uwiepuspita.com)

"Flatliners" makes for incredibly atmospheric viewing and it has a superb central idea, but like so many other films with superb central ideas it struggles with the challenge of doing something innovative or significant with it. After all, death is the last great mystery which we must all face. What actually happens after you die? This film takes that fascinating conundrum and it follows the familiar religious dictum which tells us after we die we must each atone for our many misdemeanors committed during the course of our lifetime and then be punished accordingly. This is the only consequential achievement of the entire disappointing film and by the time the end credits begin to roll you are left with a feeling that the possiblity of redemption is perhaps the best the afterlife has to offer.