Hereafter
Clint Eastwood’s new film, Hereafter, tackles a subject that seems to have been emerging in Eastwood’s body of work for some years. When you listen to Eastwood talk about Hereafter, you can readily see this film is a significant departure from his earlier films, though Gran Torino, one of his best and most iconic films, seems to lead you right to the door of Hereafter in its famous closing scene. Josh Hurst, writing for Christianity Today, says: “Eastwood called this his ‘French’ film, which is only partly true on a literal level—about a third of the movie is set in France, and in the French language—but is a reasonable enough way to summarize its comparatively artsy feel, as well as its structure of three initially unrelated but eventually intersecting stories. He's also called this his ‘chick flick,’ which is, again, an exaggeration, but only a slight one; by Eastwood standards, there's very little violence here, and a larger-than-usual role for romance.” Having seen the movie on opening […]



