70
The strongest film.
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What are people saying?
What are critics saying?
80
The New Yorker by Anthony Lane
What we glean from Belvaux’s trilogy is the reassurance (rare on film, with its terror of inattention) that people are both important and unimportant, and that heroes and leading ladies, in life as in art, can fade into extras before our eyes. [Note: From a review of the entire trilogy.] [2 February 2004, p. 94]
60
The New York Times by Dana Stevens
Mr. Belvaux's sensitive, generous way with actors suggests that, with more discipline and less gimmickry, he might have made a single masterwork, and After the Life provides the best support for this assessment.
80
It certainly wraps the trilogy on a very powerful, emotionally draining note. It's refreshing to see the precision and audacity with which Belvaux and his excellent cast succeed in imbuing the increasingly familiar story with completely new angles, insights and nuances.
88
New York Daily News by Jack Mathews
We're treated to two smashing performances from Morel and Blanc, and all of the mysteries raised before are satisfyingly resolved.
63
New York Post by Jonathan Foreman
The very effectiveness of After the Life's depiction of its main characters makes its immediate predecessor seem that much more of a waste.
60
Belvaux is no Douglas Sirk, but the film is an admirable, if uneven, conclusion to an audacious project.
83
Entertainment Weekly by Lisa Schwarzbaum
Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
80
Village Voice by Michael Atkinson
At its most contemplative, The Trilogy is a stirring and shrewd portrait of lives lived in oblivious parallel. [Note: From a review of the entire trilogy.]
60
Doesn't function nearly as well as a standalone piece, mainly because it's stuck with the thankless task of mopping up after the other two.