Film Review – Eternity (2025)

      Eternity, 2025.

      Directed by David Freyne.

      Starring Elizabeth Olsen, Miles Teller, Callum Turner, Da’Vine Joy Randolph, Betty Buckley, John Early, Olga Merediz, Kristina Capati, Olga Petsa, Panta Mosleh, Jeanie Cloutier, Kyle Warren, Elodie Venece, Danny Mac, Devielle Johnson, and Noah Bromley.

      SYNOPSIS:

      In an afterlife where souls have a week to decide their eternal destination, Joan faces the difficult decision between the man she built a life with and her first love, who died young and has awaited her for decades. Initially, there was some doubt surrounding co-writer/director David Freyne’s *Eternity* (co-written with Patrick Cunnane), due to concerns that despite its creative, bureaucratic structure of the afterlife, the core love triangle would merely reduce a woman to choosing a man. This concern proved valid, as the real frustration stems from the immaturity and obnoxiousness of the two men involved—constantly bickering to the point that one might wish to see both pushed down a flight of stairs—during a situation that calls for sensitivity and consideration of Joan’s feelings. Most aggravating is that this dynamic dominates the film, overshadowing the more intriguing potential of its portrayal of the afterlife.

      At one time, Joan (Elizabeth Olsen) was married to Luke (Callum Turner) until he tragically lost his life in the Korean War. Two years later, she remarried Larry (Miles Teller), enjoying a full life with a family until old age (depicted in the prologue by Barry Primus and Betty Buckley with the vibrancy of a couple who truly understand and love one another). However, everyone’s happily ever after must eventually end. At a gender reveal party for their future grandchild, Larry dies in an accident, which is played for laughs on multiple levels, as he arrives in the afterlife and learns the rules from his coordinator (played warmly and humorously by Da’Vine Joy Randolph) while awaiting the arrival of his terminally ill wife. Luke is also present, having waited over 50 years to reunite with Joan.

      There are two reasons Larry is portrayed by Miles Teller in the afterlife: the first being that it’s presumed no one would finance this film without the inclusion of younger stars to carry the lead roles. The second reason is an interesting narrative choice where deceased characters assume the appearance of themselves at their happiest moment. While the previous points might seem like criticisms, they reveal an innovative storytelling element that effectively enhances the love triangle plot.

      Other afterlife rules (reminiscent of Tim Burton’s *Beetlejuice*, albeit without the gothic style and horror elements) appear less coherent, such as the restriction that each soul can only choose one paradise. Re-entering the afterlife headquarters, designed to mimic an airport (with souls dressed for vacation), is deemed illegal (yes, there are jobs, including a police force to prevent souls from leaving their selected paradises). The paradises offered vary from typical options like beaches and mountains to more unique choices such as space themes, a world devoid of men, and a culinary utopia, with many advertisements subtly included in the background. Unfortunately, the most imaginative elements of this world aren’t fully explored, even with other creative touches, like an exhibit that showcases a visitor’s life memories.

      Despite this, Larry’s afterlife coordinator (noting that those working in this bureaucratic environment are often unsure of their afterlife roles) presents the rules, sets him up in a room resembling an apartment, and provides a brochure on popular paradises. Naturally, Larry decides to wait for Joan’s arrival so they can choose their afterlife together. When Joan finally arrives, the love triangle prompts profound questions, including the reasons behind Joan’s initial love for Larry (which he must also ponder as she grapples with choosing between a life with him or seizing the chance to be with Luke).

      Unfortunately, almost none of this is addressed with compelling dramatic weight or believable human reactions; instead, the focus is on Larry and Luke antagonizing one another for 90 minutes while searching for one another’s flaws. This behavior is even more perplexing considering Larry should realistically possess considerable wisdom and maturity as an older man, with Miles Teller simply serving as a younger representation. Credit is due to the actors for maintaining this perspective while delivering their lines. Additionally, it’s odd that once in the afterlife, Larry and Joan rarely discuss their life together, their children or grandchildren, or what they’ve left behind; the only focal point is Joan’s choice, which quickly becomes tiresome.

      By the halfway mark of *Eternity*, it’s unclear why Joan fell for either man, making it hard to care about her decision. The film does attempt to get serious at points, but often resorts to