The afterlife serves as new territory for Clint Eastwood

The subject of the afterlife isn't something a Clint Eastwood fan would think of him exploring in a film. A sensitive topic like that doesn't appear too often on his filmography. Let's not forget, this is the man who has played a gruff boxing trainer and a racist war veteran, and has directed grittier films such as Unforgiven and Letters From Iwo Jima. But Hereafter isn't all soft. It centers around three characters as they try to cope with death as it affects each of their lives under very different circumstances. Eastwood's latest work is a comforting, but powerful look at the questions we ask and the answers we seek concerning life after death.

George Lonnegan (Matt Damon) is a psychic living in San Francisco with his brother, Billy (Jay Mohr). Although George is trying to live a normal life and discontinue the use of his powers, Billy tries to persuade his brother to use his supernatural abilities to his full potential and make a profit from it. Meanwhile, Marie Lelay (Cecile de France) is a Parisian journalist who survives the 2004 Indian Ocean tsunami in Thailand after nearly drowning. Although she returns to work soon afterwards, she begins to ponder upon the visions she had while unconscious; glimpses that might have been a window into the great beyond. In London, twin boys Marcus and Jason (Frankie and George McLaren) are trying to take care of their alcoholic mother so she won't lose them to social services. After Jason gets hit by a car and killed, Marcus gets sent to live with foster parents, all the while attempting to find ways to contact his deceased brother.

Following last year's Invictus, Damon and Eastwood pool their talents again, and prove a terrific moviemaking team, like DiCaprio and Scorcese. Damon gives a solemn performance as the reluctant psychic. Although his mystical powers are a gift, they are an obstacle for George. Besides the individuals that he helps with contacting their loved ones, he can't hold onto a real relationship. This is an anchor on George. The viewer sees the pain in Damon's eyes as this takes a hold on his life and quietly tortures him. But the true heartbreaking performance of the film is that of Frankie McLaren, who plays Marcus. After losing his brother to a tragic accident and his mother to rehab, Marcus must deal with his troubles alone. The maturity of his performance is reflected in his character. Since Eastwood uses a real set of twins, instead of having one actor play both twins, that makes the love and connection between the two look and feel more genuine.

Intertwining storylines is always a fascinating tool in film, and screenwriter Peter Morgan (The Queen and Frost/Nixon) assembles the story in a style similar to 2006's Babel. Three separate scenarios taking place in different parts of the world eventually meet in the end. In Babel, however, the links between the characters were built over time. In Hereafter, although the characters are connected in the end, it happens only in the last fifteen minutes, making it seem rushed.

Hereafter isn't Eastwood's best film, but it's not a bad one. It's a worthy effort for a supernatural drama. He kicks-off his story with a special-effects sequence of the tsunami, and it's shown in disturbingly realistic detail. The film doesn't answer many of the audience's questions about the afterlife, only with rather foggy visions; but that leaves the viewer to think about what they believe follows death. Despite its flaws, Eastwood has shown that he still has the ability to connect with his loyal followers.

Final grade: B+