After.Life

When Anna is lying down on the mortician's table as he takes her black dress off she is wearing black stockings but when he sets it down, on the next scene, her legs are naked.

When Deacon leaves to pick up a body, it goes from a quite bright evening to quite dark in between him getting in the car and then driving away from the house.

When he goes to fill up petrol just a few minutes later it's fully dark.

Eliot shoots his victims with a folding packfilm Polaroid, yet the pictures in his wall are integral 600 film - fake 600 integral film.

600 film is black on the back, and when he is looking at Anna's picture the back of the picture is white.

When Ricci's character is about to be in an accident, she is hounded by a white cargo van.

When the van is behind her it has only a round tinted window on the back of he passenger side.

When the van moves up beside her, it now has a large tinted square window on the side cargo door.

When Elliot places the gurney in the back of his van, there are no windows on either side.

When he pulls out of his driveway you can clearly see the round tinted window in the rear of the passenger side and again when he is filling up at the gas station.

Despite the fact that Deacon had dyed Anna's hair brunette, it is back to red when she is in the coffin.

There are at least two vans in the movie, one a Ford Econoline with small porthole windows at the rear and the other a Chevrolet Express with no windows.

We see the Ford most often in long shots, it was the one in which Deacon harasses Anna before her accident.

He later loads a gurney into the Chevy but drives away in the Ford.

The Ford pulls up to the gas pumps but it's the Chevy that Deacon begins fueling, you can even see the Chevy "bowtie" symbol on the back door followed by the word "Express".

At the end of the movie Deacon and Jack are sitting in the Chevy as the ambulance passes.

The scar on Anna's forehead is at times quite smooth and clean, such as when she is lying on the gurney.

But when Deacon has her looking in the mirror, and the camera goes back and forth, it appears as a very rough, uneven cut, even with the stitches.

Then once again it becomes smooth and clean.

Apparently these were from different takes and resulted from different makeup staff.

When Deacon comes into the morgue the very first time, the door opens to the inside.

When he leaves after a while, the door opens to the outside.

During the rest of the movie the door opens to the inside.

The Ohio Bicentennial license plate on Paul Coleman's car is JB751C.

Ohio Bicentennial plates were only issued in 2 letter, 2 number, 2 letter combinations.

A plate in this sequence would have never been made.

When Eliot leaves, Anna takes the keys and opens the door.

You can see the lock is a double deadbolt and requires a key on both sides.

As Anna has the keys Eliot could not have locked the door When Paul takes the envelope from Anna's desk, it is face up and closed.

As he brings it up for a closer look it is open with the pictures hanging out and face down.

Paul places a ring on Anna's finger just before Eliot closes the coffin.

When Anna is beating on the inside she has no ring.

When Paul gets her out it is back on her finger.

At 1:09:06 His voice continues but his mouth has stopped movement.

This happens again at 1:09:11 and once more at 1:09:14.

Or is it "turbid"? I think in this case, both apply.

I think the movie has a deeper sense. With Anna struggling with what to believe, Elliot offers her to walk through the door, after hearing her emotions.

After.life is far from being a cliché film.

I like my movies to be unusual and surprising. This movie delivered in spades.

It's an interesting premise to be certain (perhaps one inspired by scenes in 2001-2005's "Six Feet Under," in some way?), but even with the acting merits of Neesen carrying the majority of the show, including Ricci's performance at times (literally at one point), I reluctantly think that its one that might be best buried.

I've seen a lot of really bad horror flicks and expected this to be one as well. Well, it was bad, but not THAT bad.

Wanted to just write 'Abject piece of crap' as a title, but figured that wouldn't actually provide much information to those wanting to know if they should watch this or not.Don't watch After.

This is solid thriller that does its job keeping you in the edge of your seat, albeit by interjecting a few clues that do not make sense in retrospect. The cast is solid.

I overall liked the movie. It really kept you guessing whether or not she is alive the intended time and the clues the films setup for us to decipher it are very well done.