Atom Egoyan is not a feel-good-movie sort of director. He is, however, a director who
knows how to build a mood. More precisely, he specializes in a bleakness and hopelessness
that makes its way under a viewers skin. Sometimes, his attempts misfire, as in his
last film, the schoolgirl-stripper piece Exotica, which was just creepy. In his latest
film, The Sweet Hereafter, Egoyan is more effective. The feelings he draws up arent
from the disgust of voyeurism, but rather from a deep pity.
Ian Holm stars as Mitchell Stephens, a
personal-injury lawyer, who has made his way into a small town wrecked with sorrow after a
schoolbus accident claimed the lives of many of the towns children. He is there to
enlist clients for a lawsuit, to find blame for an event that has no reason.
Stephens approach is to offer the parents an outlet for their anger. He gets down on
all fours, if thats what it takes. Stephens, whose daughter is killing herself with
drugs, is suffering too. But its hard to trust that he is connecting with the
parents through this when he happily notes that one of the dead children was an adopted
Indian (Judges like adopted Indian boys).
The Sweet Hereafter is something of an
emotional investment, and the last half hour particularly seems to drag. But its
worth toughing it out. Egoyan gives out the story in increments, switching between before
and after the accident. He shows the victims and their families just (film) moments away
from the tragedy, offering up comparisons of their lives. Some remain, shaken but oddly
the same. Others still find a dignity, a new voice to straighten their paths.
--Susan Ellis
Full Length Reviews
The Sweet Hereafter 
The Sweet Hereafter 
The Sweet Hereafter 
The Sweet Hereafter 
The Sweet Hereafter 
Capsule Reviews
The Sweet Hereafter 
The Sweet Hereafter 
The Sweet Hereafter 
Other Films by Atom Egoyan
Exotica 
Felicia's Journey 
Film Vault Suggested Links
The Green Mile 
Eve's Bayou 
A Thousand Acres 
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