SummaryOne year after the existence of the afterlife is scientifically verified, millions around the world have ended their own lives in order to “get there”. A man and woman fall in love while coming to terms with their own tragic pasts and the true nature of the afterlife.
SummaryOne year after the existence of the afterlife is scientifically verified, millions around the world have ended their own lives in order to “get there”. A man and woman fall in love while coming to terms with their own tragic pasts and the true nature of the afterlife.
You need to be strapped in and focused for director and co-writer Charlie McDowell’s ambitious, unnerving, slightly loopy and beautifully ambivalent gem, which only tackles the question: How would people react if there was absolute proof of an afterlife?
By concurrently threading the needle of both the hereafter and emotional breakthroughs for our characters, it can make the plot schematics feel too tidy in their construction, but the journey in finding how these elements fit together is never less than engrossing.
It's a complex movie, with an interesting concept, but sadly too popular these days. There are a lot of movies that visit this afterlife idea, and it get's cliche, even though the movie is great. So the pacing of the movie is just right, and we spend just enough time with the characters to care for them. Amazing directing style, I loved it, but you have to have some patients with it. Also great job by the actors, great delivery. The twist was the point of the movie that is entertaining and deep, but at the same time it's instantly cliche and somewhat a let down. Overall it's a great movie, but it's a crowded genre these days so it's getting boring even though this was one of the better title of that genre. Good movie.
Charlie McDowell's follow-up to the similarly mind bending The One I Love, The Discovery is a film set in a world where the afterlife has been proven to exist. Discovered by Thomas Harbor (Robert Redford), it is proven to be a different "plane of existence" than our own. With the afterlife confirmed to be real, people all across the globe commit suicide on their own or in groups to reach the afterlife and escape their lives of pain or to reunite with loved ones. Using the haunting image of a board advocating against suicide that also keeps track of how many have killed themselves since the announcement by Thomas, McDowell constantly keeps the audience on edge as we see the count grow and grow to the point that it is over 4 billion people. Our protagonist, Will (Jason Segel), is Thomas' son. A year and a half before the film begins, Thomas went on air to do an interview and it went disastrously. Now approaching the two-year anniversary of "the discovery", Will hopes to get his father to retract his work in order to stave off a wave of suicides on the anniversary. On his way there, he meets Isla (Rooney Mara) and both head to Thomas' home with Will's brother Toby (Jesse Plemons). Upon arrival, it is shown to be a cult of people who tried to commit suicide but failed. Beneath the surface, Thomas is working on his next discovery: what is the afterlife?
Films and people alike have always wondered what the afterlife is like. Darren Aronofsky's The Fountain showed a protagonist actively working to cure death as he is forced to watch his wife die from a brain tumor. By the end, we see that "death is the road to awe" and something transcendent that is to be embraced, not feared. In The Discovery, we live in a world where the afterlife represents hope. A way to get out and escape our dreary lives where bad things happen and we constantly lose people that we love. The possibility of the afterlife is one of hope that there is a light at the end of the tunnel. There is no need to fear death, as it merely takes you to a different plane of existence and allows you to escape the anguish of this world. Thus, suicide becomes a popular option. It is one that people resort to even in this real world, as a means to escape from the turmoil in their lives. Yet, this is done with the concrete evidence that something is waiting for them. In a way, it is courageous to leap without looking, no matter how tragic somebody taking their life is and always will be. In The Discovery, it seems like the best option as it allows you to press reset.
Through a new machine, Thomas hopes to discover what awaits everybody in the afterlife. This is where McDowell's film somewhat sputters, even if the emotional manipulation that is present does work incredibly well to lend great power to the film and the various discoveries therein. Towards the end, it seems as though the film tries to outdo itself with extra layers and possibilities that come quick and fast via some Nolan-esque exposition to close the film. After such a mind bending and contemplative beginning, it is unfortunate to see the third act run down a path that it could have walked down. This rushed and sudden ending is really what takes the air out of the proceedings. That is not to say the ending is not powerful, however. Though it could have been handled better without the heavy handed exposition, there are moments of brilliance in there with tie-ins to the beginning of the film that really hit your heart and creates great pathos. Though the reality of the afterlife in the film is quite scary and could be deemed to be a bit unwelcome for many, it is simultaneously quite heart warming as we see the bonds between souls become intertwined for the rest of eternity as we seek to solve issues and re-do our lives.
Presenting a compelling and pretty unique premise, The Discovery is a good follow-up for Charlie McDowell that likely will still divide audience and critics alike due to its shaky conclusion after such a mysterious and contemplative beginning. However, in saying that, its opening and thoughts on regret, the afterlife, and what would happen if we learned that it existed, is incredibly engaging and thought provoking. McDowell has an adeptness at handling confusing or odd science fiction premises with an assured hand that both messes with the mind, but also provokes thoughts as to its relation to our world. Though they may occur in slightly altered realities, the people they show are real and their problems are real. With The Discovery, its discussion of the afterlife really hits home as every person wonders what is next. From Christians to atheists, we all expend energy on what the afterlife is or if it even exists. As the former, the afterlife still remains an enigma even if I believe that it exists. What is it like? It is called "Heaven" in Christianity, but what is there? Who is there? Is it there as imagined or is it some other alternate reality?
While the film is ambitious, with enough intrigue and uneasy moral quandaries to keep my attention rapt in the end it just doesn’t make the leap to the other side.
Unlike McDowell and Lader’s underrated 2014 comedic thriller “The One I Love” the most disappointing aspect of The Discovery is that it’s something of a bore. And when you find out what “The Discovery” really is you simply don’t care anymore.
This Charlie McCarthy (“The One I Love”) drama is sci-fi at its cheapest, a Netflix film that relies on location, weather and quiet to set its tone and a very good cast to make it watchable.
This is peak TV in a feature-film package, a faux-deep, workmanlike script splashed with some strikingly moody sci-fi imagery tailor-made for a YouTube trailer. It aspires to eerie and constantly ends up at belabored and literal.
I really, really wanted to like this movie better because the idea of confirming afterlife and its' consequences is really appealing to me, but it definitely could be done better. It truly is a complex movie with mesmerizing concept that get you thinking about it, even after seeing the last scene, but I think this movie lost it's direction in the second part, like directors were not sure how to do the plot. I was expecting something more from a sci-fi movie claiming to be an "intelligent adventure" related with science, afterall.
Lookie here: an intelligent sci-fi movie. This means usually that almost everybody in it is downtrodden and serious all the time, the atmosphere is sombre and the story makes attempts to challenge us intellectually. All these boxes have been checked in „The Discovery“, too.
Son (Jason Segel) accuses father (Robert Redford) for mother’s suicide. Father doesn’t argue, is too busy with searching the truth about afterlife. After he unveiled the proof of its existence, many have just gone and killed themselves, so further studies are in order. Also playing, Rooney Mara, Jesse Plemons, Mary Steenburgen, Riley Keough.
Premiered at Sundance film festival and distributed worldwide by Netflix, „The Discovery“ ain’t bad but as a whole, it’s not especially good either.
I would place the blame on co-writer/director Charlie McDowell succeeds in generating some suspense throughout the movie but has not discovered how to make story somehow interesting also visually, and has only gotten mediocre performances out of most actors involved, especially the three leads.
Jesse Plemons – unknown but with lots of TV experience – is by far the most expressive and memorable actor of the bunch here. Steenburgen, too, is good as always although she has only couple minutes of screen time.
Still, it’s interesting to see Segel of the Apatow bunch taking on a rare serious part. And it’s always nice to meet Redford again whose better days as an actor ended with the 20th century.
The screen legend is 81 already, and has lost most of his facial expressiveness by now, so his performance is suitably creepy considering his role and the dark atmosphere of the movie.
Movies like this tend to receive more favorable critics’ reaction when they’re all indie and/or made in Spain or something (at least outside the US).
Thus the score is low in both Rotten Tomatoes and Metacritic: 55/100 and 45/100, respectively. The IMDb users have been reacting better, the score is 6.3/10 which seems more adequate to me.
A fun fact: Mara is co-writer/director McDowell's girlfriend and Steenburgen is his mother.
A really great premise and superb cast traipse through what ultimately doesn't add up to much either emotionally or intellectually. It's a shame, there really could have been something here but there's little sense of direction outside of its few roughly sketched ideas.
La película te engancha desde el primer minuto, cuando te hablan que demostraron científicamente que existe una vida después de la muerte, de ahí la película se vuelve bastante aburrida se desarrolla una historia de amor, que está directamente involucrado con el científico quien la descubrió , ahora lo más complejo de la película es realmente entender que exactamente pasa cuando una persona fallece al parecer existen varios planos de tiempo en la que una persona al morir su energía y ondas cerebrales se trasladan a otra línea de tiempo, el lugar donde se llegue estará involucrado principalmente con el arrepentimiento de no haber hecho algo de importancia para ellos, ahí puede realmente haber mucha confusión y dependiendo si en este otra realidad se logré o no , se viajará a otra línea del tiempo hasta cumplir con estas acciones, muy confuso y una gran parte de la película no es interesante.
Oh God - Richard Roeper has lost his mind. This proves it. This movie was...... a slog to say the least. If you love wall to wall pseudo intellectual musings where everyone speaks really quiet (because that's how serious they are) -- then this is the movie for you.