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This version of Don Piper’s 2004 best-selling memoir spends an excessive amount of time on worldly matters for a movie called “90 Minutes in Heaven.” The depiction of the holy afterlife takes up only about three minutes of the movie, and when they do, it’s not worth the wait. The phrase “121 Minutes in Purgatory” might have been a better title as that is essentially where viewers will remain for the duration of this dull plod along a familiar road paved with terribly good intentions.
The film’s premise’s wasted potential is what’s most depressing. Here’s a tale of a Baptist preacher who perishes in a terrible car accident, has a life-changing experience in the Pearly Gates, and then unexpectedly comes back to life while singing the words of a song over his bloody body. Piper was so moved by his vision of Heaven that he lost the drive to keep moving forward with his rehabilitation. He became estranged from his loved ones and friends, turning away from the very deeds of charity he once offered to others in need on a regular basis.
The actor playing Piper must be able to make the audience feel his emotional anguish while confined to a hospital bed. The movie’s first critical error was casting Hayden Christensen. Christensen is a grating presence from the start, mistaking pouting looks and slurred line delivery for a rich personality, as he infamously did as Anakin Skywalker. The reason “Shattered Glass,” Billy Ray’s brilliant 2003 profile of a dishonest journalist, stands as the actor’s best film is because he is most convincing in that role. Since his character is the one required to continuously declare, “Heaven is real,” it is much more difficult for him to make sincerity credible, which is a significant issue in this scenario.
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That statement might sound familiar to you because it has an uncanny resemblance to the title of “Heaven Is For Real,” the highest-grossing evangelical movie of the previous year. This movie is far superior in every way. That image dealt with the spiritual crises and concerns that developed as a result of the near-death experience even though it also related a true story of one. “90 Minutes in Heaven” appears to take it for granted that viewers would buy Piper’s story and makes no effort to make it compelling, to say nothing of captivating.
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Consider the countless ways that the visual medium of film may have helped these filmmakers capture the breathtaking vistas Piper saw after his soul left his body. Apart from increasing the aspect ratio, all writer/director Michael Polish can conjure are sun-dappled green screen shots of cheerful Caucasians dressed to the nines. Polish was once praised for his bold stories like “Northfork.” Aside from the happy smiles, there are also two black women and an Asian man, but they are only props for the cosmic photo opportunity.
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The discussion is another another issue. Piper’s narrative has a propensity to give explanatory details of each character’s heavenly attributes (like as military service) upon their arrival, even if they have little relevance on the plot. He also unintentionally draws attention to the overt metaphors in the movie by explicitly spelling them out in the voice-over. Eva (Kate Bosworth), his wife, looks on despondently as fireworks explode outside his hospital window following a brief argument. Don laments, “Unfortunately, these were the last of the fireworks in our marriage.”
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Bosworth deserves praise for being the only emotional center of the play as Eva’s rising annoyance with her husband’s depressing indifference reaches a breaking point. Bosworth performs admirably in sequences where Eva is only reacting to the kinds of pressures that any full-time caregiver will be able to relate to. She repeatedly finds herself in a McDonald’s drive-thru but can’t force herself to place an order. This is a great moment. She shouts in despair as she rolls down her window, but Polish defuses the tension with a cheap joke by having the drive-through attendant remark, “Sorry, that’s not on the menu.”
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The use of prayer as a deus ex machina in a faith-based movie like “90 Minutes in Heaven” poses one of the main problems with it. In movies, what appears amazing in real life frequently appears to be poor screenplay. In this illustration, there is one significant case where prayer results in a red herring rather than redemption. Eva sees a billboard promoting a personal injury lawyer, played by Dwight Yoakam in a truly annoying appearance, after praying for a sign that will help her husband. He meets her in the cafeteria of the hospital, where they are seated in front of a huge mural depicting mountains and green meadows. In these sequences, Yoakam, wearing a ten-gallon hat, resembles a Hollywood cowboy in front of a matte painting, and there are hints of the visual flair that once set Polish’s work apart. Naturally, the lawyer’s claims turn out to be just as false as the manufactured setting, and Eva’s dreams are destroyed. In all honesty, the movie could have used a few more problems like these. If faith is never put to the test, it cannot grow.
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