Almost-nothingness
Review by Christopher Coleman
Pairing up again with director Vadim Perelman was full of potential. James Horner's emotionally deep score for Perelman's last film, HOUSE OF SAND AND FOG, was a signicant contributor to the power of the film. Their first collaboration provided one of the more emotionally charged and throught provoking movie experiences of 2006. Again the two come together to tell another tragic story in LIFE BEFORE HER EYES.
Even more visually stunning than his last film, the LIFE BEFORE YOUR EYES, tells the sad tale of a woman, Diana, who is scarred by Columbine-like shooting at her high-school. Fifteen years older, she has a daughter of her own, who is more like her than she would want her to be, and now struggles with the renewed memories of the horrific event. It seems to be en vogue to, whenever directors choose to tell a story in a-typical fashion (ie. obscure angle or ending-twist), summarily dismiss them as being pretentious and too high-minded. M. Night Shyamalan has suffered this fate and now Vadim Perelman does as well. Yes...LIFE BEFORE HER EYES might be "a bit much" for those who belong to the blockbuster-or-die-crowd, but sometimes it is nice to have other parts of the brain or, God forbid, a part of the soul, stimulated or challenged. With all that said, LIFE BEFORE HER EYES, as a whole, isn't quite as satisfying as Perelman's HOUSE OF SAND AND FOG and one major reason is because of JAMES HORNER's score.
Read the full review here
Review by Christopher Coleman
Pairing up again with director Vadim Perelman was full of potential. James Horner's emotionally deep score for Perelman's last film, HOUSE OF SAND AND FOG, was a signicant contributor to the power of the film. Their first collaboration provided one of the more emotionally charged and throught provoking movie experiences of 2006. Again the two come together to tell another tragic story in LIFE BEFORE HER EYES.
Even more visually stunning than his last film, the LIFE BEFORE YOUR EYES, tells the sad tale of a woman, Diana, who is scarred by Columbine-like shooting at her high-school. Fifteen years older, she has a daughter of her own, who is more like her than she would want her to be, and now struggles with the renewed memories of the horrific event. It seems to be en vogue to, whenever directors choose to tell a story in a-typical fashion (ie. obscure angle or ending-twist), summarily dismiss them as being pretentious and too high-minded. M. Night Shyamalan has suffered this fate and now Vadim Perelman does as well. Yes...LIFE BEFORE HER EYES might be "a bit much" for those who belong to the blockbuster-or-die-crowd, but sometimes it is nice to have other parts of the brain or, God forbid, a part of the soul, stimulated or challenged. With all that said, LIFE BEFORE HER EYES, as a whole, isn't quite as satisfying as Perelman's HOUSE OF SAND AND FOG and one major reason is because of JAMES HORNER's score.
Read the full review here
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