By James Berardinelli
The criss-crossing between drama, thriller, and horror is nothing if not arresting. It is also unsettling.
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Chicago Sun-Times

By Roger Ebert
We can enjoy the suspense of the opening scenes, and some of the drama. The performances are in keeping with the material. But toward the end, when we realize that the entire reality of the film is problematical, there is a certain impatience. It's as if our chain is being yanked.
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It dresses up boilerplate horror in a classy shell, yet never gives it the pulse it needs.
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New York Post

By Lou Lumenick
I don't think we're expected to take After.Life any more seriously than Ricci's last extended (near) nude role in the immortal "Black Snake Moan." That one was more fun.
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Chicago Tribune

By Michael Phillips
Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.
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Entertainment Weekly

By Lisa Schwarzbaum
Requires Neeson to stare coldly and talk to corpses, but Ricci has the greater dramatic challenge: She has to operate, unfazed, in close-up nakedness much of the time.
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The Hollywood Reporter

By Frank Scheck
One hates to say it, but after this and "Black Snake Moan," it might be time for the talented actress (Ricci) to keep her clothes on.
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New York Daily News

By Elizabeth Weitzman
The only thing worse than bad horror is pretentiously bad horror. From title to finish, After.Life takes itself far more seriously than you will.
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San Francisco Chronicle

By Walter Addiego
So many horror conventions are at work in After.Life that either the filmmakers are parodying them or couldn't come up with anything better. I'm betting on the second choice.
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Wall Street Journal

By Joe Morgenstern
The dialogue is clumsy, the tone swings between somber and silly and the whole bizarre venture eventually succumbs to rigor mortis.
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36 out of 100
Generally unfavorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.