Step by step he moves in a direction of fear leading to meetings with a top hit man (Tony Danza) and a cast of unsavory characters. What follows is a slippery spiral of confrontations and suspicions as Tom becomes increasingly paranoid. After a physical fight with Tony, Matt mysteriously disappears and Tom, fearing the worst, fires Tony. But the good times come to a screeching halt when Tom's lead foreman Matt (Jamie Harrold) and subcontractor Tony (Chris Penn), start to compete for top position in the company. He has it all: money, a stunning wife (Elisabeth Rohm), and their first child on the way. Thomas Fiorini (Anthony Michael Hall) is a successful developer and an upstanding member of the community. There are minor lapses of pace, maybe a narrative digression or two that dilutes momentum but overall, this is a satisfying film that takes an uncommon view on unexplored cinematic territory.Aftermath is a black comedy thriller about one man's enormous overreaction. The Aftermath is an essay about the other half, blending sufficient historical insight into a romantic drama to hold our interest without emotional sledgehammers. If history is only written by winners it will always only be half-true. As happens so often, Knightley’s commanding presence and extraordinary range of emotional versatility stamps her ownership all over the film. Knightley and Clarke’s performances are outstanding, while Skarsgárd adequately fills the role of a grieving, if over-confident, romantic antagonist. The stunning cinematography captures the horror of the immediate post-war period without the usual reliance on the tropes of military casuality and destruction. ![]() It reeks of period authenticity in ways that only British films can do. This film stands out in the war-drama genre because of its nuanced portrait of the immediate aftermath of the Allied occupation of Germany. Wicked Pictures Presents: Aftermath,Aftermath 2021 full movies,Serial kllers who are now free shorts,Sex Trafficking Survivor interview-Victoria,ZOMBIES 2. In the middle of this swirling emotional vortex, a classic ‘Lady Chatterley’s Lover’ sub-plot becomes the narrative device for rebuilding lives. Both lost loved ones and the times are not sympathetic to healing. Deep unresolvable grief permeates the city as well as the lives of the Morgans and the Luberts. ![]() Two strangers' lives become inextricably bound together after a devastating plane crash. Few films respectfully explore the humiliation of defeat and many viewers would ask ‘why should they’? The Aftermath dwells on prolonged moments where the victor strolls in and takes over the home of the vanquished where a population is deliberately starved to keep them compliant where a once-proud culture must confront its inner demons. With Arnold Schwarzenegger, Scoot McNairy, Maggie Grace, Judah Nelson. ![]() When someone remarks that more bombs were dropped on Hamburg in one week than were dropped on London in one year, we enter an inverted moral paradigm where the line between victory and vanquished turns grey. Lewis is a compassionate man who cannot bear to send the Luberts to a squalid refugee camp and invites them to stay in the attic, setting the tension lines that drive the film. The thoroughly middle-class Morgans have requisitioned a stately mansion owned by architect Stephan Lubert (Alexander Skarsgárd) and his rebellious daughter Freda (Flora Thiemann). It opens with British Colonel Lewis Morgan (Jason Clarke) and his wife Rachel (Keira Knightley) arriving in the devasted city of Hamburg to restore law and order, as well as to root out remaining Nazi sympathisers. Set in 1946, the plotline is straightforward with few surprises other than its final moments. Some describe it as slow, melodramatic, and predictable, but such labels often reflect unfulfilled viewer expectations rather than an ill-conceived or poorly executed film. ![]() There are many reasons a beautifully made film like The Aftermath (2019) ends up critically panned.
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