To reinforce the point, of the 25 goals scored across the campaign in second-half added time, 12 were by substitutes – including Rodrygo's second against City. Indeed, of the 29 matches in the knockout rounds there was a scoring substitute in 11 of them. Either way, it’s an untidy, unfocused and unsatisfying thriller that won’t gild anybody’s resume.As the Technical Report underlines, Rodrygo was not the only replacement to shine either. Perhaps the filmmakers’ grasp exceeded their reach, or maybe neither screenwriter nor director could see what a mess it was before the camera rolled. But Gorman gets lost in trying to rationally explain all of this while losing track of all that.Ī savvy viewer’s first eyerolls turn up long before Kevin’s “Pump the brakes” crack, and continue apace through the thoroughly conventional climax. “Aftermath” plays around with the mistrust in the aftermath of an affair and ghosts that horror convention suggests linger in the places where their lives ended. Screenwriter Dakota Gorman tries to have her horror, and her psychological thriller, too, and doesn’t let “plausible” slow down her type-type-typing. It’s a seriously cluttered tale, as far as excess characters are concerned.Īnd yes, you can tell from the extensive cast that some effort was made to trick the viewer, or at least throw us off the scent and keep us from guessing where this is going. Paula Garcés is the sister of the previous owner and Alexander Bedria is her husband. Sharif Atkins plays the skeptical cop, Britt Baron is Natalie’s easily-spooked sister, Diana Hopper is the cute and flirtatious coed Kevin shares a class with as he heads back to school, But he’s wondering about the strange things going on, the bizarre subscriptions that turn up at their door, the firebomb somebody tosses into their car. “Pump the BRAKES on the melodrama!” her husband barks. And Natalie starts seeing things and hearing other things, a “slender, pale” figure slipping into the house, using the restroom. They move in, their dog starts whimpering at closed doors and bumps in the night. Despite her doubts, the fact that he didn’t consult her before starting the process, and despite the “disturbing” history of the house, Natalie goes along with this “fresh start.” That suicide wasn’t just a guy eating a pistol. He’s quit college, taken up working with a biohazard crime-scene cleanup team ( Travis Coles and Jamie Kaler) prone to making wisecracks about a suicide victim creating “a Jackson Pollock on the wall” of their latest job.Īnd that’s when Kevin gets a really good deal on a house.
She’s struggling to get her designer dress shop open. Greene plays Natalie, a clothing designer struggling to get her marriage to Kevin ( Shawn Ashmore of TV’s “The Rookie” and “The Ruins” and “Darkness Falls”) back on track after a “betrayal.” If you can make it to the ridiculously drawn-out and absurd finale - and Rotten Tomatoes has its running time wrong, it’s close to two hours - you’ll witness a good actress giving her all even when things go from straining credulity to nonsense. “Aftermath” is a sluggish, convoluted domestic horror thriller that can’t be rescued by a fierce turn by its leading lady, “Twilight” alumna Ashley Greene.
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