After We Collided

As Tessa and Hardin try to pick up the pieces of their relationship, new obstacles stand in the way of their love affair and new secrets are revealed. But all this is nothing compared to the arrival of the handsome Trevor in the life of Tessa, who will be wrathful of Hardin, aware of the threat that this new suitor represents.

Finally the sequel to After is here! Finally we will be able to compare the two masterpieces of the year, namely 365 days and this After – Chapter 2. It seemed difficult to beat the 50 Polish Shades of Gray in terms of emptiness (half of the film was made up of clips musical), but I have to say that After isn’t doing too badly either. Here we also link the musical sequences which are supposed to fill the void between two insignificant dialogues and without any stake. It’s crazy how you can make a film about people who meet and leave each other over and over again for bogus pretexts like: a boy sent you an SMS, a girl used the word kissed or even I’m too d4rk so we have to separate … Lots of mind-blowing misunderstandings of stupidity that would be resolved in 10 seconds if people made the effort to talk to each other. Besides, it’s still the same thing, I clearly have the impression of seeing Twilight or its fan fiction 50 shades of my ass. As in the second opus of the vampire saga, we are trying to make us believe in a love triangle, but what is the project? Who will believe it? What is this bogus obstacle that no one believes in? For that to be an obstacle, the girl would have had to show him at one point a bit of attention, that a sexual tension settles between the two … There it is just a function character. So no, the threat he poses to the couple in the film is just zero, it doesn’t exist at any time. And then frankly alchemy question it’s nothingness … I think that as soon as I see Ralph Fiennes’ nephew I just want to laugh because he looks like a kid who thinks he’s tough. It just doesn’t work. It just can’t work. Looks like kids playing at having adult sentimental issues (with a good layer of teenage hysteria on top). Everything seems to come from a fantasy of a teenager, she is offered beautiful clothes, her internship is in fact a dream job, boys are fighting for her. Suddenly emptiness … All situations are just made to live this fantasy of being a little princess in love with a too dark and dark bad boy … and of course to chain the scenes of ass … Finally … ass … we understand each other. Unlike 365 Days or 50 Shades of Gray, After’s adaptation doesn’t have an ounce of boobs on the horizon. We just see the hero’s buttocks for 1s. That’s all. It’s a scary puritanism, whereas if you open the book it’s about putting your fingers every other page … I really wonder who this film can appeal to because lovers of the book will just find it soft and prudish and in general the film is far too disjointed, without real intrigue, to arouse the slightest interest in the average viewer who will quickly get bored. Besides, I have to say how badly this film is made with a small example of editing. Towards the end of the film we have a telephone conversation between the hero and the poor man’s Jacob, it is set up in a just anarchic way. We have shots of less than a second that change as soon as we change the speaker, it has no fluidity. A desaster. No one in real life does that … except in an amateur movie, when you have no idea of ​​the pace. Absolute sadness. The real question is: can we laugh about it? I would have said yes, but it’s still the same as the first film and even more bad because there they no longer even pretend to bother with a plot while filling in the gaps with musical sequences in order to ‘arrive at a standard length for a film … We are therefore unfortunately too much on familiar ground to giggle at the stupidity of the project. Unfortunately, it’s just boring and badly shaken.

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