Review this movie
Jul 18, 2014Dead Again: 5 out of 10: On-screen chemistry is a funny thing. Some couples simply have it. Tom Hanks and Meg Ryan make a cute believable couple; William Powell and Myrna Loy in their fourteen films together are in my mind the silvers screens best pairing.
On the other hand, Kenneth Branagh and Emma Thompson have no on screen chemistry whatsoever. One might say despite the fact theyDead Again: 5 out of 10: On-screen chemistry is a funny thing. Some couples simply have it. Tom Hanks and Meg Ryan make a cute believable couple; William Powell and Myrna Loy in their fourteen films together are in my mind the silvers screens best pairing.
On the other hand, Kenneth Branagh and Emma Thompson have no on screen chemistry whatsoever. One might say despite the fact they were married, yet I would argue that too often whatever chemistry causes an off-screen couple to hook-up simply does not translate to the movies. In fact in many cases it seems to create a negative chemistry on screen. (Think Tom Cruise and Nicole Kidman.) Since Dead Again is at its heart a love story, the lack of chemistry is deadly. Branagh and Thompson play two couples. The first, filmed in beautiful black and white, are an angry World War 2 refugee and opera composer and his murdered wife. He goes to the chair for her murder and we flash forward to Branagh as a missing persons detective and Thompson as a crazy mute lady with amnesia. They may be connected to the previous couple and both stories are told alternately throughout the film.
The film itself (in particular the black and white flashbacks) is gorgeous, yet Branagh as a director plays too many tricks for his own good. He cribs so liberally from Hitchcock that the film threatens to turn into High Anxiety 2 rather than an original work.
Without the chemistry between the leads we are left with little more than a hundred film school in-jokes and a strange sci-fi mystical story that we simply have no stake in.… Expand
YoonC.Sep 15, 2003A total embarassment, unmitigated disaster, laughable enough to suffocate a horse to death. Branagh foolishly scrambles to outdo both Welles and Hitchcock but the movie doesn't even rise to the level of your average Roger Corman vehicle. Enjoyable as unintentional comedy.
Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.
Emerges as cutty, indistinct and confused, full of shots that don't match and spatial conceptions that would look flat even on TV. The more Branagh strains to appear “cinematic,'' the more he looks like a man of the theater. [23 Aug 1991, Friday, p.B]
Branagh has mastered the tricky high-wire act of simultaneously kidding the conventions he is being absolutely faithful to, allowing us to squeal with both fright and knowing laughter. His is a film lover's film [23 Aug 1991, Calendar, p.F1]