Sarahanne2
Probably the worst movie that I have ever seen. No sense of depth or fullness. Can't believe that this movie could be made. Shocked by Nick Nolte's hair---it was never combed once throughout the entire movie. The movie was very hard to sit through---I just didn't feel any sense of connection to the characters at all. I am trying to understand why some people seemed to enjoy it so much. To post on this board, you have to write ten lines about a movie. I am at a total loss on how to do that when the movie itself was so empty. This is a movie that you will not want to waste any amount of time on. Take my advice, do not watch this movie, even if it is the only one that you have access to watch.
lioninoil
I bought the "Afterglow" soundtrack prior to hearing it, and to seeing the movie, because it is composed by Mark Isham and performed by Charles Lloyd -- two underheralded greats of modern music. I still congratulate myself on that purchase; this soundtrack is one of the best ever. The movie, on the other hand, was a *HUGE* disappointment. What was Alan Rudolph thinking?? The stilted dialogue, the muddled story-line, the confused editing, the glacial pace... and that ending! What was *that* about?? Do yourself a favour: go directly to the best part of the film and buy the soundtrack album. In the liner notes, Alan Rudolph wrote: "Like the glow which remains after a source of light is gone, this music is guaranteed to illuminate any place in your heart where love has been." Amen to that.
barbarella70
There's no doubt Julie Christie was one of the most unique personalities of the late sixties and early seventies. A remote beauty who was sexy and charming in Billy Liar and Darling, haunting and enigmatic in Don't Look Now and McCabe and Mrs. Miller and one of the few things worth remembering about Doctor Zhivago. Her notorious pickiness when it comes to choosing roles has served her well and she is one of the few stars from that time who has moved quite gracefully through a film career. Her resources as an actress allow the character of Phyllis Mann to come alive in a way that few could accomplish and the magic she creates is unforgetable. Laid back hipster Alan Rudolph's sexual roundelay has a lush look on top and a jazzy score below but it's Christie who sears the visuals with sadness, mystery, and wit. Nick Nolte's rugged charm serves him well throughout and when these two are alone together on screen, the art of film acting is proudly displayed. Watch the scene when a drunken Phyllis tries to rekindle their physical relationship and notice the body language. Note to filmmakers: Rudolph's genius is knowing when not to move the camera and in trusting his actors to do the work.The film seems ponderous and flat at first and Johnny Lee Miller and Lara Flynn Boyle are still learning their craft (their scenes do grate), but Afterglow is a cockeyed success for those with patience.
Alex-372
Some movies need a good murder. This one needs a good serial killer, like Michael Myers. Instead, what we get is a slower than molassis character study, from Montreal, about aging actors and a sexual comedy of errors. Freudian symbolism is shoved down our throats - lots and lots of "tools", ever recurring sigars and intergenerational sexual relationships (did anyone say "Oedipus"?). It isn't that I dislike all Canadian movies, but when they stink - yikes. Slow, uninspired, insulting the viewer's investment of time. On the other hand, I've read several (paper) reviews of people who liked it, and I suppose that _if you like this genre_, it's ok. And it's nice to see Julie Christie again (last time I saw her was in "Don't Look Now" with Donald Sutherland).
AD
