An allegiance of friends obsessed with death fight for a pulse in the remake of the 1990 original, ‘Flatliners’. For this chapter, the film takes place more than two decades after the events of those prior efforts. Five medical students hoping to gain insight into the mystery of what lies beyond the confines of life, embark on a daring and dangerous experiment. By stopping their hearts for short periods of time, each triggers a near-death experience. As the investigation becomes more and more perilous, they are forced to confront the sins of their pasts, as well as contend with the paranormal consequences of trespassing to the other side. The film stars Ellen Page, Diego Luna, and Nina Dobrev. It is directed by Niels Arden Oplev, and is rated PG-13 for violence and terror, sexual content, language, thematic material, and some drug references.
Are there no bounds for what films can be remade in the 21st century? It used to be good films were the only ones worthy of a re-imagining, but now it seems that even the forgettable flock of barely twenty five year old films are up for grabs in the race between studios that can’t create an original idea between them. The 1990 version of ‘Flatliners’ felt like it had some thought-provoking ideas about the afterlife and what it all leads to, but ultimately fell short in expanding the original premise into something greater for discussionary purposes. If you thought that film lacked the pursuing of imagination, the 2017 remake will appall you for how much grasping at straws is happening here. It’s not a terrible film, just terribly boring and full of exposition plot holes that ultimately gives it that rushed feeling into embarking on cheap thrills for the kiddies just before the Halloween season. On that tainted direction, and because it was made in 2017, this is yet another example of a film that suffers from a suffocating cloud of jump scares that ultimately serve no purpose in furthering the horror aspects, and counteracts everything from the sci-fi part of the movie that slowly fades away with each following scene.
The story surrounds our five central protagonists, four of which gamble with death and bring back a few sparse positives that pay off this unnatural obsession with the afterlife. I say few because from this film you barely see a positive side to their awakening other than they are remotely smarter, a trait that doesn’t make sense when you combine it with the fact that brain damage sets in after you’ve been dead for four minutes. In fact, when you hear that statement you can start to map out the fictional antagonist that will pursue our latest collection of sexy moron doctors for our satisfaction; everything going on is in their heads. I say this because the movie keeps it a mystery for all of about ten minutes, before giving away the answer from the outsiders perspective in seeing these kids basically fighting with themselves. One such scene that made absolutely no sense to me was a male of the group being stabbed with a knife on his hand that shows up immediately in the next scene as bandaged. How is this possible if it is playing out in his mind? Sure, one could point to the Freddy Krueger dream theory, but there is no physical antagonist here unlike Krueger, so the only way that could physically happen is if the guy stabbed himself, which is a little difficult when he doesn’t have a knife and is swimming for his life when it happens.
Because this group has to experience everything together, there’s a clouded barrage of expositional scenes in the first act that embrace redundancy in a way that doesn’t speed it up or make it any more compelling for the audience with each person’s dive. This makes up roughly almost the entire first half of the movie, saving what little thrills the movie does have for late in the second act, at which case I was entirely bored and over this whole thing by that point. As for the obstacle itself within this film, if you thought ‘Final Destination’ was a bit of a stretch, this film takes it to new levels. I was so disappointed with the final act of this movie and the logic into what goes into defeating concrete brain damage that I couldn’t help but laugh. Even for a science fiction film, this movie feels like it is being written by the writers as it goes along, ushering us to a finale that is every bit as forgettable as it is inconsequential. If I do have two positives with the screenplay it is in the shock factors that happen that don’t exactly add anything to the film, but certainly made me stumble in my tracks of conventional predictability that the film was faithfully riding until those points. One is a cameo by a noticeable actor from the original film, and one is an event that shifts the film into totally different circumstances than I was legitimately ready for. It’s unfortunate that the film never finds a suitable identity after this, but there is the promise that you could’ve seen something of possibility from a movie not afraid to take chances.
The production for the film is very one-note and safe in the artistic expression that it garners from scene to scene. The most evidence of this comes in the free-flowing feel of a collection of scenes that hold very little weight in the way they are edited. I mentioned that stabbing scene a while ago, and the way it is put together and sequenced gives it very little weight in the atmosphere of speeding to the 103 minute mark. The character takes the knife, yells in pain, and I kid you not, in the very next cut is out to dinner with the entire group not discussing the borderline paranormal assault that he just took, but instead to discuss something entirely unrelated to the previous scene. And that’s the biggest hurdle that ‘Flatliners’ is going to face. It feels primed to forget about itself and the undercooked sequences of events long before its audience has a chance. There’s ultimately no faith in this script or presentation that makes me ever want to watch it again, and very little fun with poking at those plot holes that I mentioned that remind you just how little in terms of cinematic expectations is really at play here.
This is an exceptionally talented and youthfully vibrant cast, but their efforts are sadly wasted with very little opportunity to standout in this muddled effort. One thing I can say positively is that Diego Luna is my favorite character here, not because he seems to be the only one thinking with logic, but because he feels like the underdeveloped leader who serves as the voice of reason between them. Luna was the only character who was enjoyable for me because his heart was miles upon anyone else, and yet sadly he received the least amount of backstory between the five characters. Ellen Page is basically the central character of the film, for it is her we are introduced into this film with, but the movie doesn’t remain committed to her cause in a troubled past, and only returns to it when it is absolutely necessary in using to fill the gap between artificial jump scares. Kiersey Clemons is someone who I am falling in love with in each passing film, and for a second it looked like I could feel strong empathy to her cause here, but she plays this character as too innocent and safe to ever believe some of the second act turns that the movie has for her. It sadly wastes the biggest rising star between this cast that could’ve at least pushed an entirety of likability in a film of rough takeaways.
THE VERDICT – Arden Oplov’s science fiction thriller suffocates under a lethal combination of tireless redundancy and never ending boredom from a dependency of tireless jump scares that requires a strong dose of adrenaline to get the heart of this story pumping again. This one is desperate for a pulse, but never finds the complimentary identity necessary in justifying its existence, dooming it dead on arrival before it ever hit the theaters. The term ‘Flatliners’ has now become synonymous with the word ‘Bland’, and we have yet another wasted remake to a film nobody holds close to their heart to thank for it. DIALYSIS…….Pull the plug.