![]() It's just a wall of cars and junk, but it alerts other survivors that you are open for business-the business of taking in strays. One of the first milestones in Aftermath is building your gate. I had a nice stockpile, everyone had tents and shelters, nobody was starving and we were all really optimistic about the chances of removing all the radioactive waste surrounding the village. And more everything! Humanity might be on the brink of extinction, but progress continues unabated.Ī few days into the apocalypse and everything was looking pretty good. Yet it becomes lost under the waves of a limp romance that never quite reaches its potential.It's a small concession that has a big impact, emphasising that this is an agile management romp where you need to constantly adapt and find new resources, but without making you go through the same routines over and over again, rebuilding the same old stuff, just because you need some more wood. The underpinning message that it’s “all the same sea in the end” is poignant. The Aftermath is an overall smart movie that attempts to unite the idea of forbidden love with the prospect of ending the prejudices of war. However, this is not quite enough to keep The Aftermath from ringing with soppy, superficial romance. The illustrious aesthetics, graceful wardrobe and sleek set design give an air of nostalgia to the post-WWII film. Kent simply blunders when it comes to really generating atmosphere or excitement. There’s heart in it, and occasions of well-crafted cinema. What can’t be argued is Kent’s noble attempt at furnishing a classy, British romance drama. Perhaps Kent would have been better off concentrating on one aspect of Brook’s original story, rather than spreading it out too thinly on all sides. The sub-plot of Stefan’s daughter affiliating with Nazi youths is skimmed over, peaking with a forgettable climax. Officer Burnham’s malicious corruption fails to provoke any strong villainous force. The political strife of 1946 Hamburg is only briefly touched upon by Kent. Clearly, Rhidian Brook -writer of the original 2013 novel- had an allegory of compassion in mind to motivate The Aftermath. The lines between good and bad are blurred, as sympathy is lent to Nazi prisoners but from the perspective of the British. The unique perspective, taken from Morgan’s initial prejudicial attitude, allows for suitable character development. Themes of grief, tolerance and betrayal are integrated well into the narrative. But a lack of chemistry and overall intensity prevents The Aftermath reaching much further than another post-war romance. There are a handful of applaudable scenes,such as Knightley’s breakdown when playing the piano in remembrance of her son. But the word ‘moments’ is key here, as it is a suspense that fails to hold up throughout the entire film. Director James Kent (Testament of Youth, 2014) does manage to play off the film’s predictability with moments of tense drama. After a few flirtatious glances and fiery arguments, a wistful love affair ensues against the backdrop of a war-torn country.Īt first glance, The Aftermath seems your bog-standard British wartime movie, starring well-regarded actors struggling under their character’s emotional strain. ![]() When the wife of a British Colonel Officer (Jason Clarke) is forced to move into the ruins of Hamburg, Rachael Morgan (Keira Knightley) is forced to tolerate sharing her new home with its previous German owner Stefan (Alexander Skarsgård).
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