Flatliners (1990) User Reviews

Everything we do matters....

[Lagniappe · 8/10 · 2 December 2001]

I've been intending to write a review of this film for some time, but only now have I actually managed to get my thoughts down for the perusal of others.

I never had the pleasure of seeing this film on the `big screen' which is a shame, as it is often visually stunning, but I have revisited it on video numerous times over the years, enjoying it immensely every time. It definitely is on my personal list of favorite movies, and for more than just starring Kiefer Sutherland and Kevin Bacon, two of my `actors to watch.'

Perhaps I appreciate this film so much because it appeals to my slightly off-kilter taste in entertainment. I like my movies a bit left of center - unpredictable and fresh. And whether or not you `believe' the story line of the film, you have to admit, it is different!

Everyone has different tastes and opinions, but my impression of some of the negative reviews of this movie is that the viewers never really saw past the surface level of this film. They got caught up in technicalities, `Why would there be green lighting in a subway?' or `Why would medical students pull such a stupid stunt?' and failed to see the artistry and psychological depth of the piece.

Yes, there are some medical and technical aspects that do not make logical sense, but if you are willing to suspend disbelief just a tad, this can be a very engaging film.

First, a note about the artistic quality of the movie. Some have complained about the murky lighting, and the illogical nature of the sets - but for me, the use of innovating lighting techniques, the plastic and sheet draped sets, the unusual settings in old buildings and dank, dripping tunnels, the use of statuary, rain and billowing curtains - all add a poetic flavor to this film, a haunting beauty that suits the dark nature of the questions being asked about life, death and forgiveness.

I will focus on just two examples; in an alley scene, a change in lighting allows for certain elements of the set to come dramatically into focus, then to fade away once lighting returns to normal. It is an innovative means of conveying a shift in the `reality' of the moment, and works beautifully. We are also allowed to see the interior of the character's apartments - contrast the warm wood, bright colors, golden lighting and cluttered comfort of Labraccio's rooms with the stark, white void of Nelson's. Both are reflective of the characters themselves. Nelson's lack of `objects' reflect our lack of knowledge about his past. and his carefully constructed mask that keeps his companions at a distance. His past, we come to learn, is one of chaos and conflict. He has determined to leave that behind in favor of an uncluttered emptiness. unfortunately, the emptiness is also reflective of his relationships with others, a realization he comes to along his personal journey of self-discovery in this film.

Flatliners is not your typical horror film. Nor is a typical drama or suspense movie.it is rather more of an amalgamation of all, having the best elements of all genres intertwined in a complex, suspenseful plot.

This is an ensemble piece, and the cast does an excellent job of breathing life into their individual characters. Your immediate impression is that the characters are each representative of a well-established `stereotype': The female ice queen, the slightly neurotic 'physician', the playboy and the socially conscious `nice guy' etc. However, as the film progresses and the characters are further fleshed out, they take on multiple dimensions and depth.

Most interesting of all is Sutherland's character of Nelson. Nelson is not a character that is easy to like - indeed he is a bit of a b**tard, a master manipulator who definitely places self-interest above all else. Yet, Sutherland plays him with a hint of insecurity that lends him a certain appeal. As events unfold, you come to realize that much of Nelson's unpleasant personality is a smokescreen, a protective mask behind which hides a very uncertain and vulnerable young man burdened by a terrible secret.

By revealing bits and pieces of Nelson's complex personality throughout the film, the writers, directors and cast gradually lead you towards a greater understanding of and sympathy for him. The character who started out as a `jerk' becomes important and valued in his own right - as you learn to `forgive' his previous behavior in light of new information. Your journey of discovery with Nelson reflects the characters own journeys towards self-understanding, as they too come to realize that everyone has value, and `everything we do matters.'

Which leads to my final comment. Although many of the posters here have picked up upon the theme of defying death.. few seem to have touched upon what I see as the main premise of the movie - the importance of forgiveness, and the need to be cognizant of all you do, because it does `matter.'

One of Schumachers better ones

[rlaine · 8/10 · 21 October 2011]

I recall seeing this movie three times, first in the early 90s, then 00s and now I just saw it again and each time I've grown more fond of it. There is something in Schumachers style that drags me into it. The story is OK, nothing really remarkable. It's one part ghost story, one part medical thriller, one part love triangle.

What really makes this movie worthwhile is Schumachers direction. He's got a very good eye for this Gothic style. One might wonder why the school was so poorly lit, or what exactly was the place they did their experiments at, but it's all for the mood, it's all style. Sometimes style does go over substance, but in this case they work hand in hand. The Gothic architecture and gloomy late autumnal Chicago are just what this movie needed. Just like The Lost Boys IS small town sunny California. Schumacher should've stuck to this style which clearly is his forte, but sadly he has since had a very varying career with only occasional hits.

The cast is great, all of the stars have gone a long way since. Makes one only wonder what could've become of William Baldwin had he made better career moves. He is very good in this movie. I've always liked Kiefer Sutherland as a movie actor, and he does a remarkable job here too. I really would've rather seen him as a full time movie actor rather than going for TV.

There is only one thing that bothers me in this movie and it's the story in all it's simplicity. If people have had near death experiences before and have come back to tell, what new did this crew try to achieve? If not only have personal experience of death, but I got the idea most of them were in it for the science. Why risk brain damage and gamble with life for something you will not get any proof anyway. Especially given that they are medical students, the story is not 100 % believable, but like I stated earlier, watch this movie more for the mood.

I'm glad it's already been so long since the 90s so one can start appreciate the movies of this decade again without getting caught on the hairdos and such.

A vaguely original horror idea

[mentalcritic · 7/10 · 10 November 2004]

The basic premise of Flatliners is fairly simple. Several medical students put themselves at the point of death in order to find out exactly what the brain does during the fact. It sounds like something a mob of bored students would do for a joke, but it forms the basis of some very creepy substories. In today's world, where Hollywood has to mine foreign markets for the ideas to make a horror film, Flatliners is one of those rare gems that show Hollywood can make something different when it tries hard enough.

What separates Flatliners from a lot of films based on this premise that would come out today is that it does not stoop to being condescending or arrogant. Flatliners recognises that people go to films to be entertained, not moralised to. In this kind of supernatural thriller, the difference this restraint makes is really incredible. What's even more incredible is that Julia Roberts appears without being annoying or demonstrating that she can only play Julia Roberts. The theory of obscurity, that performing artists do their best work with the smallest audience, is in force here.

The subplots concerning what the characters find during their loss of pretty much everything that makes them alive, and how it comes back to intrude on their present time, are done surprisingly well. The moments when William Baldwin's character finds his personal videotape collection coming back to haunt him are especially intriguing. That William Baldwin seems so perfectly cast in the role says a lot either about the script or the direction. I am not sure which.

Kiefer Sutherland, on the other hand, really shines as the lead. One really feels for him as the mystery of what past experience is intruding on the present and why unfolds. As Kevin Bacon's character goes to find an old school pier whose life he made hell and tell her how sorry he is, it becomes clearer what the film is about. We can try to change the past as much as we like, but it's what we do with the present that matters most.

Another good aspect of Flatliners is how it achieves an atmosphere without the use of expensive, elaborate visual effects. Quite unusually for what is essentially a horror film, Flatliners did not expend its budget in places where it did not need to. Much of what we see during the more surreal sequences is a case of professional pretending, simple trick photography, or stock footage. Sometimes the simplest things are the best.

If there is a problem with the film, it's that it feels about ten minutes too short. The ending seems more perfunctory than conclusive, as if someone in the studio asked the director to wrap the film up so they can bring it out at a certain market time. Of course, many films have been left with sore spots for this very reason, so Flatliners shouldn't really need to be any different. The hundred and fifteen minutes we do get is highly satisfactory, though not overly brilliant.

I gave Flatliners a seven out of ten. It works well as a date flick or a kind of late-night popcorn film. That aside, it makes a good reminder that low-budget horror shows weren't always sad pieces of garbage.

A dark, original thriller

[nitehawk-8 · 2 July 1999]

Hmmm.... Since I love Kiefer Sutherland so much, my review might be a little biased. He was, however, pretty good in Flatliners. A wonderful idea for a movie, and a great gothic-type thriller. Sutherland's guilt and fright at the return of boy he taunted terribly when he was young (I'll try not to give away the rest) seemed genuine, especially since he seems drawn more often than not to act characters that are a**holes (there was really no other way to put it). As a young medical school student, his research into life after death draws his friends into dangerous situations and a great finale. The medical school did seem a little sub-standard, though, I will admit. Kevin Bacon is great in Flatliners, as is one of my favorite sarcastic actors, Oliver Platt. William Baldwin's also a cutie and did okay, and though I'm not a Julia Roberts fan, so did she. The plot will draw you in and keep you on the edge of your seat, and there's an interesting dark atmosphere pervaded by a lot of red and blue for emotional impact. A good movie.. I'd give it at least an 8 out of 10

Flatliners builds a Suspension Bridge between Life and Death, then starts walking on it

[CihanVercan · 7/10 · 12 October 2009]

Countless TV displays and the memorable appearances from 4 of today's mega-stars(plus Hope Davis's screen debut) keep Flatliners still in prudence. The plot is about a non-academic research of five medicine undergrads pursuing one's crazy idea on discovering the secret of death, and learn what's after death, then come back to life again. Yet the storyline hasn't been designed as fascinating as the idea of the plot.

There are popular stereotypes to develop a regular teen-slasher script in Flatliners. There is Nelson who creates the idea of decoding death, pretty but introverted Rachel, David who cuts the Gordian knot on luckily not to be dismissed from the school, ladies' man Joe and finally the smart guy Randy("I did not come to medical school to murder my class mates no matter how deranged they might be"). They join hands altogether in an experiment where Nelson's heart will be stopped and rerythmed. Then they decide to continue this experiment in strict confidence at night times in the campus. Not long after Nelson's experience everyone starts a race over having the wildest and the longest death experience, risking their lives one by one. Yet, soon they realize their daily life becomes affected from those experiences they had. The visits to the afterlife brings back their delinquent feelings from their childhood memories. Depolarizing their deep subconscious watchfulness, they begin having somatic delusions and visual hallucinations.

When the point comes where the explanation of subconscious, director Joel Schumacher skips that every humankind has a subconscious personality which they are not aware of. This inner personality keeps one from altering into identity loss. If you lose or if you depolarize this subconscious personality you certainly lose your identity instead of refreshing childhood memories. I wanted to add this as a movie mistake, which already has been mentioned via movie critics in the earlier 90s'. Obviously here in this movie Schumacher made the actors have it least affected. Then why do they hesitate continuing on the experiment after learning their lesson, as if death is designed indiscoverable by God? David had been introduced as an Atheist, now he turned out to believe in God when he recalled a flashback from his childhood. After witnessing this 180 degreed change in David, it's clear to see that Schumacher's film was so conservative and lily-livered; that's ultimately why it's never classified as a work of science fiction. Alas! It had a good potential. It even tried to tell the unconscious maturation from having a death experience, beginning to believe that death is so simply natural and it's only a part of a human's life.

More than what's in the movie, it was also memorable to recall what's with the movie. Jan de Bont as the cinematographer, who had worked almost every time with Schumacher, creates an dreamy atmosphere like it's being an Gothic horror movie. The blue color schemes all over the walls reflecting into the actors' faces deliver first class of lighting, that suits perfectly with the film. The close-up shots of the gargoyle statues in the campus buildings, Catholic frescoes in the walls, stop-motion cameras, and the dynamic camera speeds were all belong to Bont's skills.

Flatliners became a cult movie in time with its sociological pen-portrait of the X-generation juvenile especially via its futuristic editing style with storyboard connection sequences like being part of a video music clip so much aesthetically. Those were the times where fast-paced and multi-sequenced video music clips were on rise. This style was very rare to come across in those years after its pioneer Tony Scott's "The Hunger(1983)".

More of an interesting than satisfying viewing experience

[Leofwine_draca · 6/10 · 16 July 2016]

FLATLINERS is one of those films remembered by a generation for bringing together a bunch of stars, in their early years, all of whom would become famous after time. Kiefer Sutherland, of course, teamed up with Joel Schumacher previously on THE LOST BOYS and nowadays is best known for his work in the television series 24. Julia Roberts made the double-whammy of this and PRETTY WOMAN, both in 1990, and secured her success as an A-list actress. Oliver Platt has carved out a niche in 'smaller' movies over the years, William Baldwin is one of the popular Baldwin brothers and Kevin Bacon, well, he's always been weird, ever since he was in Friday THE 13TH, and his role here is no exception. The cast was a mixed bag for me. I hated Baldwin's womaniser, despised Platt's blatant role as the comic relief, and found myself as ambivalent to Julia Roberts as ever. But Bacon's a secure anchor for the other actors, and Sutherland redefines 'intense' with his turn here.

The idea of a group of medical students giving themselves 'near death' experiences to see whether there's an afterlife is a good one, a nice science-fiction premise. But what impressed me most was that, halfway through, the story changes track totally, becoming a reflection on the human condition as themes of guilt, sin, redemption, and atonement are dealt with in turn. I was surprised how dark this film actually was, with lots of encounters with sinister figures and weird stuff going on; it's actually far scarier than many more 'obvious' horrors from the same period. Scenes of the students struggling to resuscitate their friends are pulse-pounding and there are even one or two moving bits (Roberts' reunion, for instance). Schumacher's stylised direction, stuck entirely in the 1980s, is a detraction, but cinematographer Jan De Bont helms some good scenes and, while I don't consider this a classic, it is an interesting experience and for the most part an effective one.

Flat Flatliners

[BrandtSponseller · 6/10 · 14 March 2005]

A medical student named Nelson (Kiefer Sutherland) hatches a plan to explore death by briefly killing himself in a controlled environment then having his friends bring him back to life minutes later. Four fellow students join in the plan, taking turns with their explorations, competing with one another to see who can stay "under" the longest. What will the consequences of this dangerous game be? Without a doubt, the premise of Flatliners is intriguing. I can't speak for the medical veracity of the idea--I'm sure it's ridiculous--but it doesn't need to be realistic to provide fodder for a good film. Unfortunately, this isn't a good film. It's not quite failure, but it's damn close. It's as if somewhere along the line the film was brought back from the dead, but with severe brain damage.

One of the primary problems that director Joel Schumacher does not overcome is that these actors just do not seem like medical students, and the setting just doesn't seem like a medical school. In addition to Sutherland, the other "students" are Julia Roberts, Kevin Bacon, William Baldwin and Oliver Platt. With the exception of Platt, the other four seem more like models who got lost on their way back from a Vogue shoot. Platt seems like an overacting fussbudget who got lost on his way to a Steven Spielberg set. Writer Peter Filardi gives them more model-like dialogue, except when they're flatly reciting the medical terms they've memorized.

The "school", for some bizarre reason, is an old church/monastery, filled with Gothic statuary and modern construction accoutrements, such as scaffolding and those thick, transparent plastic sheets they hang in doorways. It does look cool, but it's difficult to buy the set as a medical school.

That might not usually be a problem for me--I love absurdism, after all, but the plot seems to hinge on the verisimilitude of the characters and their setting. What we're left with are actors going through "medical student" ritual movements and speech as they work their way through a formulaic series of events. Formulaic because much of the film consists of the same scene over and over, our cast of pretty boys (and a beautiful girl) simply take turns around the chair of honor, a bit like they're square dancing. The first time, when Nelson goes "under", it may be pretty exciting, but by the fifth time, it's just more ritual--there is little suspense.

The genre listing claims that Flatliners is a combination of horror, thriller and sci-fi. None of those seem to fit the film very well, although superficially, it makes some sense. But the scenarios are really just drama heavily imbued with symbolism and metaphor. The "fantasy" elements are intriguing enough at that, but the gist of the film consists of characters having to adjust their karmic balances. They're trying to right various wrongs, or at least perceived wrongs, towards persons from their pasts. It's fairly overt; there isn't much subtext here. The karmic imbalance material is the best of the film, but in a case of life reflecting art, Schumacher has a karmic imbalance himself--there is far too much empty ritual in the film and not enough meaty material.

Pushing the boundaries of thrills seeking to the very limit

[mjw2305 · 6/10 · 3 January 2007]

Five talented young students at university hospital school of medicine decide to push the boundaries of life in the search for knowledge and the ultimate thrill. They take turns to die (Flatline) for as long as they can in an attempt to see what lies beyond death. It becomes somewhat of a competition between them to see who can stay dead the longest; but they soon discover that crossing over to the spirit world is not free of consequences.

Joel Schumacher directs this quite stylish thriller and with a very fine cast of young and talented actors - Keifer Sutherland, Kevin Bacon, Julia Roberts, Oliver Platt and William Baldwin; we have a pretty fresh well made thriller, that is certainly worthy of your attention.

6.5/10 it wasn't quite as good as i had been led to believe.

An Excellent Thriller With An Excellent Cast

[Crannicus_Maximus · 8/10 · 3 September 2006]

When I first watched Flatliners, I was amazed. It had all the necessary features of a good movie: the cast was superb, the plot was superb, and in the case of thrillers, there was genuine "thrills" throughout.

Keifer Sutherland offered a marvelous performance as the male lead in the piece, portraying a scientist who believes he can find the answers to life and death by killing himself and then coming back to life, essentially "stealing" death's secrets away. Kevin Bacon offers an excellent performance as the more morally decent counterpart to Keifer, while Julia Roberts offers her most convincing role. William Baldwin portrays a student who excels in class and, apparently, intercourse. And Oliver Platt, in another outstanding performance, portrays the voice of reason for the group and the most innocent.

The story is relatively simple, yet original, and the acting is refreshing-- definitely a stand out film for the genre, and one that has set the standard for measuring other thrillers for me.

8/10.

I have this flashback of Wednesday Addams about to electrocute Pugsly while playing a game called "Is there a God?"

[fredericksmith1952 · 7/10 · 18 May 2012]

Every time I think about this film, I have this flashback of Wednesday Addams about to electrocute Pugsly while playing a game called "Is there a God?" The premise of the film is that one could view the afterlife and come back with the ability to report on their findings. The idea that a medical school would admit or retain anyone who had these tendencies, let alone allow a sizable amount of expensive equipment to go unaccounted for, is ridiculous. Given that, I have to say the film has merit, but it is certainly not the merit of a sound plot.

The acting, however, is superb, and every cast member should be applauded for their ability to rise to the occasion in this somewhat palatable "horror" film.

Kiefer's ability to maintain his character's persona is exceptional, breaking at just the right moment in the film.

Julia Roberts certainly gives us a performance rivaling her work in previous films, as well as adding an interesting perspective to the idea of guilt and redemption.

Kevin Bacon is the glue than binds this band together, with his ability to maintain the focus of the five on the problems they are facing.

Oliver Platt provides an interesting sort of comic relief, and William Baldwin brings his boyish demeanor into play with his particular sin, although you have to wonder how that character ever got into medical school.

The sets really give us the "horror" feeling, and you have to give Joel Schumacher his props for his camera angles and framing of the these spooky rooms and buildings.

Rated R for violence, sexual references and scenes, and language, definitely not one for the younger set. Wouldn't want to give anyone ideas. Not particularly collectible.

I wouldn't say that the movie flat-lines, but it definitely has a weak pulse.

[BA_Harrison · 4/10 · 22 February 2015]

Keen to see what happens to someone after they die, reckless medical student Nelson (Kiefer Sutherland) talks four of his friends (played by Julia Roberts, Oliver Platt, Kevin Bacon, and William Baldwin) into helping with a dangerous experiment on himself, first inducing brain death, followed by resuscitation after a minute on 'the other side'. When the procedure is a success, the other students take it in turns to have a peep at the afterlife, not realising that when they return to life, they have brought their sins back to haunt them.

As much as I like the cast of Flatliners (with the exception of Julia Roberts, who I find irritating) and admire director Joel Schumacher for his sterling work on The Lost Boys, Falling Down and 8MM, this film doesn't do an awful lot for me: it's the 90s equivalent of so much of the anodyne teen-centric horror-lite garbage that passes for scary these days, with a good looking young cast and lots of flashy visuals, but very little in the way of substance, fun or thrills.

The first half of the film proves very repetitive, as four of the five students 'flatline', and experience a dreamlike afterlife; the second half sees the group suffering the consequences, which for three of the four, amounts to little more than a few colourful hallucinatory 'nightmares' that are easily resolved. Only Nelson ever seems to be in real danger, but in keeping with the lame PG-friendly nature of the film, he survives with just a few scars to show for his ordeal.

Good premise into well-told story

[Drooch · 8/10 · 9 April 2003]

Flatliners has all the ingredients of a good Joel Schumacher film - intelligent, youthful characters, stunning cinematography, a gripping story, and excellent performances. It's escapist fun but it's done very well and resonates with a positive spiritual message despite the unnerving precedings.

Schumacher has a knack for spotting talented young actors, and all of the main five here have gone on to greater things (see the cast list). Their believable performances help to raise this movie well above average. Kiefer Sutherland shines in his egotistical med-student role.

The cinematography really stimulates the right side of the brain, which is what I love about Schumacher; his use of light and location create images that stick. A disturbing nightmarish atmosphere is created which unsettles you while you watch the film and haunts you when you go to bed - reminded me of The Lost Boys.

This is a film that takes an awesome premise - curious students want to find out what's after death, and successfully follows it through into a scary, gripping tale of redemption. One of Schumacher's best; highly recommended.

Today is a good day to die

[Tweekums · 7/10 · 16 March 2017]

Five medical students, Nelson Wright, Rachel Mannus, David Labraccio, Joe Hurley and Randy Steckle are fascinated by death; more specifically what happens when one dies. Nelson manages to persuade them to help him with a dangerous experiment; he wasn't them to cause his clinical death then bring him back. After he returns others are eager to go next. The problem is Nelson hasn't told them about what happened after be returned; he has been tormented and even physically attacked by an apparition of a young boy he seriously wronged as a child. As the others follow Nelson by experiencing death they too are taunted by people they believe they have wronged. Dave decides that he must seek out the woman he wronged as a child and apologise. He suggests the others do the same… something that isn't easy if that person died because of you.

This is a decent psychological horror even if its central premise is rather flawed; why would these students' near death experiences be considered scientifically more relevant that all the other people who have reported such phenomena? If one can get past that there are plenty of good scary moments; most notably when Nelson and David are tormented by the children they wronged… there is just something disturbing about a child genuinely terrifying an adult. The cast does a fine job; most notably Kiefer Sutherland; who nicely captures the arrogance then terror of Nelson. Julia Roberts, William Baldwin, Oliver Platt, Kevin Bacon also impress as Rachel, Joe, Steckle and David respectively. Each time one of them undergoes a near death experience there is the feeling that perhaps this is the time they won't come back… each time they stay dead longer and are harder to bring back. The setting is dark and Gothic which adds to the creepy atmosphere. Overall I'd say this is good enough but isn't really a must see unless you are a fan of one or more of the main cast.

flat plot line

[onepotato2 · 3/10 · 10 February 2007]

This may be the only Joel Schumacher movie that holds any potential but being from Joel it's still a mess. Kudos to whomever came up with the Chicago-based update of D.W. Griffith's "creative geography"; in which editing two completely different locations together produces a new geographic reality. In this case various Chicago interiors, a set in Hollywood, a real location on the north side... end up being inside the Museum of Science and Industry way south of the Loop. This is the most enjoyable aspect of the movie. An obsessive production design which highlights building repair and fragmented statues is also intriguing. The space created in this movie is dark and interesting.

However Schumacher, who came into his own in the coke-sniffing seventies, doesn't really have the vibe of any other period; and has always had really stupid ideas about what was a complete script; none stupider than St. Elmo's Fire. I'm sure that Schumachers dream project would be an even shallower remake of Xanadu. Ooooh just imagine all the pretty colors!

The premise of this movie is "Let's find out what happens (experientially) at the moment of death." Schumacher comes up with: The most difficult, regret-filled moment of your life flashes before your eyes and follows you back into your life to torment you. ...Meh! Maybe a decent writer could do something with that, but here it's super limp and unsatisfying; Why didn't the plot enliven the lore already in the culture about what occurs at the moment of death, instead of inventing this option? The worst thing you did in your life was pick on a student? Oh, heavens to betsy! I myself live with the horrible regret of stealing some gum once from a convenience store. My evil is really, uh... tearing me up; Hey Schumacher! What was your 2nd, deeper, more sensible idea about the after-life?

The movie ends up being some compelling visuals in search of a decent script and plot.

I haven't seen a single movie where Oliver Platt shouldn't be shot for his terrible acting. True to form, you should hide your gun before viewing this. He's excruciating.

Early Bacon, W. Baldwin, J. Roberts & K. Sutherland Semi-Sci-Fi Suspense

[semioticz · 19 October 2007]

Five medical students (Kevin Bacon, David Labraccio; William Baldwin, Dr. Joe Hurley; Oliver Platt, Randy Steckle; Julia Roberts, Dr. Rachel Mannus; Kiefer Sutherland, Nelson) experiment with clandestine near death & afterlife experiences, (re)searching for medical & personal enlightenment. One by one, each medical student's heart is stopped, then revived.

Under temporary death spells each experiences bizarre visions, including forgotten childhood memories. Their flashbacks are like children's nightmares. The revived students are disturbed by remembering regretful acts they had committed or had done against them. As they experience afterlife, they bring real life experiences back into the present. As they continue to experiment, their remembrances dramatically intensify; so much so, some are physically overcome. Thus, they probe & transcend deeper into the death-afterlife experiences attempting to find a cure.

Even though the DVD was released in 2007, this motion picture was released in 1990. Therefore, Kevin Bacon, William Baldwin, Julia Roberts & Kiefer Sutherland were in the early stages of their adult acting careers. Besides the plot being extremely intriguing, the suspense building to a dramatic climax & the script being tight & convincing, all of the young actors make "Flatliners," what is now an all-star cult semi-sci-fi suspense. Who knew 17 years ago that the film careers of this young group of actors would skyrocket? I suspect that director Joel Schumacher did.

You're going to bring me back!!!

[tkatsoufris · 7/10 · 17 July 2021]

Maybe it was the impressionable age I first saw the movie (17) but 30 years after it still remains a very original idea, interestingly realized by Joel Shumacher and an interesting nursery for future stars. It touches upon a universal and perennial issue and has a fine pace as a movie. Quite engrossingvand entertaining!!!!!

Haunting...

[paulclaassen · 6/10 · 9 October 2021]

For some reason, critics didn't take too kindly to 'Flatliners'. I, on the other hand, loved it!

How far would you push the boundaries in order to explore new possibilities? The film revolves around medical students experimenting with life after death. As they soon discover, life indeed does not end when you die. This film might give some viewers peace of mind, while it will also frighten others at the very thought.

The excellent cast makes this fantasy thriller believable. The visual effects are also creepy and highly effective, resulting in many spooky and eerie moments. 'Flatliners' is more than just a horror movie. It sends out a powerful message of redemption, and teaches you to fight your inner demons. The film has a hauntingly beautiful score, as well.

So, will 'Flatliners' cure your curiosity, or fuel your fears? Go ahead, see for yourself...

Way better than I thought

[BandSAboutMovies · 6/10 · 26 August 2022]

Directed by Joel Schumacher and written by Peter Filardi, for some reason I never saw Flatliners. I would assume in 1990 I was somewhere between my gorehound and art film phases and a mainstream Hollywood horror movie with major stars would hold no interest for me. But as I grow older, I see the mistakes of my past and can admit: this is a well-made film with some interesting ideas.

Nelson Wright (Keifer Sutherland), Joe Hurley (William Baldwin; what is it with him playing characters that film people having sex? He does it in this and Sliver), David Labraccio (Kevin Bacon), Rachel Manus (Julia Roberts) and Randy Steckle (Oliver Platt) are medical students that want to learn what comes after death. So they use their skills in the ER to kill each other for one minute and then bring the body back to life to see what happens. Nelson has an experience where he sees his old bully and can't describe what it was like, so everyone has to see it for themselves.

As they say, nothing good can happen from any of this. Basically, each of them has an unresolved trauma and until it is fixed, it will destroy them from beyond.

This would be a basic movie if not for the look that director of photography Jan de Bont brings to the film, as well as the incredible lighting and colors of the film. That said, what emerges is a movie that's better than you'd think it would be and one worthy of watching several times.

There was a remake/sequel/reboot in 2017 that had a Sutherland in it as a different character, except that in a deleted scene it was shown that he really was Nelson Wright. I mean, make up your mind, Danish filmmaker Niels Arden Oplev!

Suspenseful and Thought-Provoking with Some Commendable Performances.

[laylastepford · 7/10 · 22 July 2017]

Kiefer Sutherland and Kevin Bacon showcase their talents and give compelling performances, as usual. This might even be one of Bacon's best roles. Unsurprisingly, Julia Roberts was the weakest part of the film, in terms of acting and casting. Oliver Platt proved himself to be a reliably consistent side-character actor, and William Baldwin's performance was decent to mediocre (at least better than Roberts'). The suspense was gripping throughout most of the film, from the "experiment" procedures to the after-math following each one. Overall this film was suspenseful, presented some interesting thoughts and ideas on a controversial subject, and provided some commendable performances. The premise was very provocative here and it was one of the earliest films to show Generation X's ambition despite the suppression by the Baby Boomers. It was also very true to the nihilism that embodies Generation X.

Afterlife, Sins and Atonement

[claudio_carvalho · 9/10 · 16 December 2017]

The medical student Nelson Wright (Kiefer Sutherland) invites Joe Hurley (William Baldwin), David Labraccio (Kevin Bacon), Rachel Mannus (Julia Roberts) and Randy Steckle (Oliver Platt), who are friends from his class, to participate in a near death experiment where he will die for one minute to see whether there is afterlife or not. After the successful result, Nelson tells that there is something afterlife and hides that he saw the boy Billy Mahoney that he used to bully with his friends. The next to try is Joe, who likes to secretly videotape women that he has sex. He stays dead for a longer time and has an erotic experience. Then the atheist David is the next to try the experiment for a longer time. He sees the black girl Winnie Hicks that he used to bully at school, and later he is haunted by her. David tries to convince Rachel Mannus to avoid the experiment but she is already dead when he arrives at the university. Soon Rachel is haunted by her deceased father that she believes died because of her. David learns that Nelson is haunted and injured by Billy Mahoney and discovers that they are haunted by their sins and atonement is the only way out. What will happen to them?

"Flatliners" is a suspenseful horror film directed by Joel Schumacher in 1990 with a great cast. The storyline of afterlife, sins and atonement is original and well-resolved. Unfortunately this great storyline was recently used in a totally unnecessary remake. My vote is nine.

Title (Brazil): "Linha Mortal" ("Mortal Line")

Take a trip into the afterlife with "Flatliners"

[PredragReviews · 7/10 · 21 March 2016]

Flatliners is a remarkably audacious, wildly original exploration of one of the taboo topics of science and religion. As far as direction, acting and suspense are concerned, few films rival Flatliners in its all-around splendor. Underneath a deceptively linear and seemingly simplistic script, there is much symbolism and underlying subtlety to be found in Schumacher's brilliant vision. This is without doubt an intriguing premise and the movie does well to focus on the horrific hallucinations that the group experience rather than on the religious connotations.

Yeah, there are some medical and technical aspects that do not make logical sense, but if you are willing to suspend disbelief just a tad, this can be a very engaging film. First, a note about the artistic quality of the movie. Some have complained about the murky lighting, and the illogical nature of the sets - but for me, the use of innovating lighting techniques, the plastic and sheet draped sets, the unusual settings in old buildings and dank, dripping tunnels, the use of statuary, rain and billowing curtains - all add a poetic flavor to this film, a haunting beauty that suits the dark nature of the questions being asked about life, death and forgiveness.

However, this could have been done better, and there are several holes in its plot such as the innocence of children and whether they really deserve to be haunted by what they did when they were younger. Plus the fantastic cast can all be remembered in better roles, especially Kevin Bacon, who is outstanding with whatever role he's given. Still, 'Flatliners' is entertaining enough when it resides in horror, and if it's placed in this genre then it's relatively intelligent.

Overall rating: 7 out of 10.

A medical school WITHOUT LIGHTS?

[EYEboy · 1/10 · 30 November 1998]

...And if that were the only problem with this overblown tripe, it would be forgivable. Factor in an embarrassing script, paper-thin characters, a ridiculously bad fit of somebody's idea of pop psychology onto a convoluted plot, and torpid, limp performances, and you've got a stinker, ladies and gentlemen. That Joel Schumacher continues to get work as a director amazes me.

Today's a god day to die......

[FlashCallahan · 8/10 · 8 April 2022]

Seeking answers about the afterlife, Chicago medical student Nelson convinces his fellow pupils to help him end his life, and then resuscitate him in the nick of time.

Atheist David, playboy Joe, and troubled Rachel, also journey into the unknown, looking for meaning in their own lives.

As the experiments become more perilous, each is forced to contend with the paranormal consequences of trespassing on the other side.........

Flat liners belongs in the category of films that are 'films that you should have seen when released, because they were more relevant back then'. I know people whom have seen it for the first time lately, and have loathed the film, but back when this was released, it felt fresh, new, and pretty amazing.

The concept is pretty simple, 'die for a few minutes, and then get haunted by your past mistakes' is pretty much what the film is, but it's what Schumacher does with the mise en scene that makes the film stand out ahead of other genre-alike films released in 1990.

The cast are all good, and all have their own arcs, except Platt, who is nothing more than the token whiner of the group. The death scenes are sublime, and are still pretty trippy to watch, especially Joes which is strangely erotically charged, but is accompanied with an amazing piece of music. Unfortunately though, his 'past mistakes' are sidelined as the other three are more involved, and psychologically more charged than his.

It's always great to see Sutherland get absolutely totalled by a child, and Roberts' is the eerie part of the film, even though hers was not her fault.

Bacon has the most intricate part of the film, as I'm sure that a lot of people went through/did what David did as a child.

Add some wonderful visuals, and some glorious 80's tropes, this is a film that doesn't stand the test of time, but for the lucky ones who where there when it was first released, it's a sumptuous, debauchorous, treat....

Mildly interesting eerie thriller

[andromaro · 7/10 · 25 August 2022]

If you ignore the utter medical inaccuracies of the film, it is actually a quite enjoyable horror/thriller, never too scary and with an interesting idea at its core: what's in the afterlife. It's common conception that good stuff awaits, but here this is not completely true: the bigger your unresolved business, the scarier your demons. Original and entertaining, but technically mediocre.

Great premise, poor execution

[ndrwdyng71 · 5/10 · 12 July 2003]

The premise--a group of medical students resolve to, effectively, kill and then rescusitate each other in order to research the afterlife. Let's face it, this is a very fascinating premise for a movie, brilliant even, but unfortunately the rest of the movie does not live up to expectations.

There are so many issues here that are raised quite early in the film. The ethics of doing something like this, for example. The nature of death and the existence of an afterlife. God, even. But FLATLINERS, as if it was too afraid of the questions it was asking, abandons ship and opts for a run-of-the-mill supernatural thriller plot instead.

Don't get me wrong--as supernatural thrillers go, it's pretty skillful. The med school where most of the movie takes place is wondefully creepy, as are most of the settings and art direction for the rest of the film. However, because of the intriguing setup, most viewers will be left cold--the film just doesn't deliver on its promises.

Another fatal flaw is the repetition of the rescusiation scenes. This was suspenseful the first time, but each subsequent time it loses a lot of its punch. To combat this, the screenwriters jack up the risk a litle bit every time, nudging our heroes closer and closer to death. Unfortunately, it doesn't work.

This one's not worth it, but I would like to see a remake. One that's a little more intelligent, perhaps?