What dreams may come movie analysis

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Hell to help its inhabitants Leona — woman who guides Chris through a Heavenly city; Chris first mistakes her for Ann Plot summary[ edit ] The prologue is narrated by a man telling of his visit from a psychic woman, who gives him a manuscript she claims was dictated to her by his deceased brother Chris. It is a place flooded with dim golden light and thick with flowers, of misty peaks and crags, where people and objects float through the sky and great distances can be breached with a single leap of faith, of course. Remembering how he'd called him the one man he'd want at his side to brave Hell, Chris realizes Albert is Ian. He finally tells the truth straight out. And all the weeping and hugging the characters do can't make up for the film's fatal lack of texture and psychological nuance. Ward has created a film that at its most visually evocative portrays its characters' lives and afterlives as a kind of hall of mirrors, in which the lines between dream and reality, memory and eternity are continually blurring as one gives way to another. However, for those who have strong convictions about the afterlife, this movie may disturb your sensibilities, with its mixture of New Age thinking and eastern philosophies. Also, if Hell isn't a judgment, how come it's so awful? Before they part ways, Ian begs Chris to remember how he saved his marriage following Ian and Marie's deaths. Then both of the children are killed in an accident. At the end, which resembles an alternate version[ clarification needed ] of the film but not the standard version, she escapes from Hell by being reincarnated, because she is not ready for Heaven. Other parts of this world seem cheerfully assembled from the storage rooms of images we keep in our minds: Renaissance art, the pre-Raphaelites, greeting cards, angel kitsch cherubs float past on plump clouds. After crunching down in a flower bed, he gets up to find himself covered with paint, as though he had landed on a just-completed three-dimensional Renoir canvas that was still wet.

Matheson's book, though fiction, was based on extensive research about cultural beliefs of the afterlife. Identifying himself as a new neighbor, Chris makes numerous unsuccessful attempts to help her realize the true situation.

Before the credits are even over, his two kids Ian and Marie are killed in a car accident.

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Sprites in 19th-century garb flit about through the sky, people walk on water, and Chris soon envisions, among other sights, a golden metropolis in the classical style and other vast constructs straight out of the Age of Enlightenment. Advertisement But what really grinds my gears is the movie's confusing, contradictory, and-most importantly-stupid internal logic. Remembering how he'd called him the one man he'd want at his side to brave Hell, Chris realizes Albert is Ian. The film follows him into the next world, and creates it with visuals that seem borrowed from his own memories and imagination. Everyone has had a multitude of past lives; some souls become so advanced, however, that they pass to a higher level where they ultimately become one with God. Running time: minutes. If Hollywood is determined to short-change us with an obligatory happy ending, then it shouldn't torment us with a movie that deserves better.

Chris witnesses a series of dreadful sights and is gruesomely attacked by a mob, though he soon discovers that the attack occurred only in his mind. In Philadelphia, a boy is born, presumably Chris.

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After exploring the place for a while, he finds Albert, his cousin, who reveals himself as the unidentified man he had been seeing. The particular Heaven of each religion exists somewhere, because that is what members of each religion expect. Albert and Chris are able to use their minds to make their surroundings slightly more bearable, but Albert warns Chris that this will be harder to do the further they travel. Whatever its shortcomings, it is a film to treasure. Do we really need to zoom into the coffin at the kids' funeral and see Ian's lifeless corpse? When his attempts only leave her more distraught, he decides to move on. He calls her attention to the improbably negative conditions of the house. Chris, who is initially relieved that her suffering is over, quickly becomes angry when he learns that those who commit suicide are sent to Hell; this is not the result of any judgment made against them, but that it is their nature to create "nightmare" afterlife worlds based on their pain. Albert teaches Chris about his new existence in Heaven, and how to shape his little corner of it and to travel to others' "dreams". Dammit, I never wrote 'real' horror to begin with! Chris is crushed by a car, sent flying through a tunnel in an explosion-just the way God intended.

They are surprised when a Blue Jacaranda tree appears unbidden in Chris' surroundings, matching a tree in a new painting by Annie, which was inspired by Annie's belief that she can communicate with Chris in the afterlife.

In one sequence that is among the most visually exciting I have ever seen, he occupies a landscape that is a painting, and as he plucks a flower it turns to oil paint in his hand. All that Chris can reasonably expect is a chance to say a final farewell to Annie.

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He does not encounter ships, thunderstorms, fire, or the sea of human faces that his film counterpart walks upon. Rosalind Chao. Whatever its shortcomings, it is a film to treasure. Running time: MIN. Annie is a painter and museum worker who commits suicide and is condemned to live in hell for taking her own life after Chris is killed in a car accident. Chris tries to communicate with them, but tires and goes off to sleep. There are some powerful moments, most notably a scene where Annie, in a fit of anger and grief, attempts to destroy a painting which, unknown to her, Chris and his spiritual guide Albert Cuba Gooding Jr. Albert explains that the place they occupy is called Summerland. Just today I was reading Psalm 37 and thinking about how your ministry provides ways to 'dwell in the land and enjoy safe pasture. Ann believes that she is living alone in her house where nothing seems to work, grieving her husband's death. Later, when Chris ventures into hell, the images are darker and more fearsome--Bosch crossed with Dali. Working from a screenplay by Ron Bass, Mr. Clearly Chris has associations with that body. With the entire family reunited, the happy couple decides to ditch their kids and get reincarnated back on earth. It's an ill-conceived conclusion to an ill-conceived film.

It's a family film, you guys. Christopher Nielsen Cuba Gooding, Jr. He then experiences his life flashing before his eyesas the events in his life unfold in reverse.

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What Dreams May Come Movie Review