Hubbry Logo
FlatlinersFlatlinersMain
Open search
Flatliners
Community hub
Flatliners
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Flatliners
Flatliners
Flatliners
View on Wikipedia
from Wikipedia

Flatliners
Theatrical release poster by John Alvin
Directed byJoel Schumacher
Written byPeter Filardi
Produced by
Starring
CinematographyJan de Bont
Edited byRobert Brown
Music byJames Newton Howard
Production
company
Stonebridge Entertainment[1]
Distributed byColumbia Pictures[1]
Release date
  • August 10, 1990 (1990-08-10) (United States)
Running time
114 minutes
CountryUnited States
LanguageEnglish
Budget$26 million[2]
Box office$61.5 million[3]

Flatliners is a 1990 American science fiction psychological horror film directed by Joel Schumacher, produced by Michael Douglas and Rick Bieber, and written by Peter Filardi. It stars Kiefer Sutherland, Julia Roberts, William Baldwin, Oliver Platt, and Kevin Bacon. The film is about five medical students who attempt to find out what lies beyond death by conducting clandestine experiments that produce near-death experiences. The film was shot on the campus of Loyola University Chicago between October 1989 and January 1990,[4] and was nominated for an Academy Award for Best Sound Editing in 1990 (Charles L. Campbell and Richard C. Franklin). The film was theatrically released on August 10, 1990, by Columbia Pictures. It grossed $61 million at the box office.

A follow-up film directed by Danish filmmaker Niels Arden Oplev was released in September 2017, also featuring Sutherland in a starring role.[a]

Plot

[edit]

Medical student Nelson Wright convinces classmates Joe Hurley, David Labraccio, Rachel Manus, and Randy Steckle to help him discover what lies beyond death. Nelson flatlines for one minute before his classmates resuscitate him. While "dead", he sees a boy he bullied as a child, Billy Mahoney. He merely tells his friends that he cannot describe what he saw, but something is there. The others follow Nelson's feat.

Joe flatlines next and experiences an erotic sequence linked to his promiscuous lifestyle. After arguing with Rachel and out-bidding her of the length of time that they are willing to remain “dead”, David is third to flatline on Halloween and sees a girl, Winnie Hicks, whom he bullied in grade school.

The three men later start to experience hallucinations related to their visions. Nelson gets physically assaulted by Billy Mahoney twice. Joe, engaged to be married, is haunted by the women that he secretly videotaped during his sexual dalliances, who taunt him with the same false promises he used on them. On a train, David is confronted by the 8-year-old Winnie, who taunts him the way he taunted her.

Rachel decides to flatline next. David rushes in, intending to stop the others from giving her their same fate, but arrives too late. Rachel nearly dies when the power goes out and the men cannot shock her with defibrillator paddles. She survives, but she too is haunted by the memory of her father dying by suicide when she was young.

The three men reveal their harrowing experiences to one another, and David decides to put a stop to his visions. Meanwhile, Joe's fiancée, Anne, comes to his apartment and, having discovered his videos, ends their relationship. Joe's visions cease after Anne leaves him.

David goes to visit a now adult Winnie and apologizes. She accepts his apology and thanks him, who feels a weight lifted off his shoulders. David then finds Nelson, who accompanied him to visit Winnie, beating himself with an axe. In Nelson's mind, Billy is again attempting to beat him to death. David stops him, and they return to town, where Rachel confronts Nelson about withholding the supernatural nature of the experiments from the rest of them, then storms off. David later instructs Joe and Randy to help Nelson find Billy.

Having an idea of what Rachel has experienced, David offers to let her stay with him and they fall asleep together. Meanwhile, Nelson takes Randy and Joe to a graveyard. He killed Billy as a kid by throwing rocks until he fell out of a tree. They try to convince Nelson that what he did was accidental, but he does not listen. They are eventually stranded when Nelson storms off in Joe's Mustang.

David leaves Rachel to rescue Joe and Randy at the cemetery. While alone, she goes to the bathroom and finds her father. He apologizes to Rachel, whose guilt over his death is lifted after he reveals he was addicted to morphine and his suicide was related to post-traumatic stress disorder resulting from his tour in Vietnam. Nelson calls David's house, and when Rachel answers he tells her he needs to flatline again to make amends. He apologizes for involving her and their friends in his reckless plan.

The three men realize what he intends and race to stop Nelson, who has been dead for nine minutes when they arrive. Together with Rachel, the four friends work to save him. In the afterlife, the boy Nelson is in the tree being stoned by Billy from the ground and dies from the subsequent fall. When almost all his friends are about to give up on reviving Nelson, Billy forgives him. David gives Nelson one last shock, which brings him back.

Cast

[edit]

Release

[edit]

Columbia Pictures released Flatliners theatrically on August 10, 1990. The film debuted at number 1 at the US box office, grossing $10 million on its opening weekend.[7] It grossed $61.5 million total in the United States.[3]

Reception

[edit]

The review aggregator Rotten Tomatoes reports that 50% of critics give the film a positive review based on 54 reviews, with the critical consensus "While it boasts an impressive cast, striking visuals, and an effective mood, Flatliners never quite jolts its story to life."[8] On Metacritic, which assigns a weighted average rating to reviews, the film has a score 55 out of 100, based on 10 critics, indicating "mixed or average" reviews.[9] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[10]

In her review for The New York Times, Caryn James wrote, "when taken on its own stylish terms, Flatliners is greatly entertaining. Viewers are likely to go along with this film instantly or else ridicule it to death. Its atmospheric approach doesn't admit much middle ground."[11] Critic Roger Ebert praised the film as "an original, intelligent thriller, well-directed by Joel Schumacher" and called the cast "talented young actors, [who] inhabit the shadows with the right mixture of intensity, fear and cockiness". But Ebert criticized Flatliners for "plot manipulation that is unworthy of the brilliance of its theme. I only wish it had been restructured so we didn't need to go through the same crisis so many times."[12] Similarly, Peter Travers of Rolling Stone magazine praised the film's young stars, but complained that "by dodging the questions it raises about life after death, Flatliners ends up tripping on timidity. It's a movie about daring that dares nothing."[13]

Entertainment Weekly gave the film a "D" rating and Owen Gleiberman wrote, "What isn't in evidence is the sort of overheated lunacy that made the William Hurt speed-freak trip movie Altered States (1980) such delectable trash. Flatliners is camp, but of a very low order. Schumacher is too intent on pandering to the youth market to take the mad risks and plunges that make for a scintillating bad movie."[14] In contrast, The Washington Post's Rita Kempley loved the film, calling it: "a heart-stopping, breathtakingly sumptuous haunted house of a movie".[15] The film has become a cult film.[16]

Soundtrack

[edit]

Follow-up

[edit]
Main article: Flatliners (2017 film)

On October 5, 2015, a follow-up starring Elliot Page and Diego Luna was announced,[17][18] following the casting of Nina Dobrev, James Norton and Kiersey Clemons. Kiefer Sutherland also appears in the remake. Sutherland had originally announced that he was reprising his role as Nelson Wright, revealing that the new film would actually be a sequel rather than a remake. However, upon release, Sutherland's character is identified as Barry Wolfson; a deleted scene indicates Sutherland is in fact playing the same character, living under a new identity.[19] Directed by Danish filmmaker Niels Arden Oplev, it was released on September 29, 2017.[20]

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Flatliners

View on Grokipedia
from Grokipedia
Flatliners is a 1990 American psychological horror film directed by and written by Peter Filardi. The plot follows five ambitious medical students at the who conduct clandestine experiments to explore what lies beyond by deliberately inducing near-death experiences through , only to face terrifying hallucinations and reprisals stemming from their unresolved past misdeeds. The film stars as the driven Nelson, as the empathetic Rachel Mannus, as the guilt-ridden Labraccio, as the charismatic Joe Hurley, and as the skeptical Steckle. Produced by and Rick Bieber for , Flatliners blends elements of , , and thriller genres, emphasizing themes of mortality, redemption, and the . Released theatrically on August 10, 1990, achieved commercial success, earning $61.5 million at the worldwide against a of $26 million. Critically, it garnered mixed responses, holding a 50% approval rating on from 54 reviews, with commentators lauding Schumacher's atmospheric direction, the ensemble cast's performances, and the film's bold visual style while critiquing its predictable plot twists and uneven pacing. awarded it three out of four stars, describing it as an "original, intelligent thriller" that effectively builds tension despite structural flaws. In 2017, a remake directed by Niels Arden Oplev was released, updating the premise with a new cast including Elliot Page, Diego Luna, Nina Dobrev, and Kiersey Clemons, though it received generally negative reviews for lacking the original's intensity.

Development and Production

Concept and Writing

The concept for Flatliners originated with screenwriter Peter Filardi, a recent Boston University graduate working as a waiter in Boston, who drew inspiration from near-death experience (NDE) accounts and broader philosophical inquiries into the afterlife during the late 1980s. Filardi specifically cited a close friend's personal NDE on the operating table, combined with his reading of books on the subject, as the catalyst for the story of medical students experimenting with temporary clinical death to explore what lies beyond. This premise blended scientific curiosity with existential questions about mortality, guilt, and potential retribution from the beyond, reflecting growing public interest in NDEs popularized by researchers like Raymond Moody in works such as Life After Life (1975). In 1988, the script caught the attention of producers and Rick Bieber through Stonebridge Entertainment, who acquired it amid initial development complications involving executive producer at . Columbia ultimately purchased the rights from Rudin for $400,000 after contractual disputes, handing the to Douglas and Bieber, who oversaw revisions that amplified the elements—focusing on the characters' haunted pasts and moral reckonings—while toning down purely speculative sci-fi aspects to heighten emotional and thematic depth. These changes emphasized the film's exploration of redemption through confronting suppressed sins, transforming the narrative into a about tampering with life's boundaries. Director joined the project in 1989 at the invitation of Douglas and Bieber, infusing the script with his signature gothic thriller aesthetic, marked by atmospheric visuals and moral undertones on guilt and atonement. Schumacher's vision shifted the tone toward a more stylized, visually opulent horror, drawing stylistic influences from his earlier work like (1987), which similarly mixed supernatural elements with youthful rebellion and ethical dilemmas. The development spanned from Filardi's initial draft in 1988 to final script approval in early , culminating in budget planning for a $26 million production under .

Casting

Kiefer Sutherland was cast in the lead role of Nelson Wright, drawing on his established collaboration with director from their previous project (1987), with negotiations for Flatliners concluding in late 1989 as production ramped up. Julia Roberts was selected for the role of Rachel Manning shortly after completing her breakout performance in (1990), which wrapped filming in late 1989; this marked Roberts' first venture into the horror genre, where her audition highlighted her ability to convey emotional vulnerability amid the film's intense psychological elements. Kevin Bacon was chosen to portray David Labraccio, leveraging his reputation for portraying complex, edgy characters established in films like (1984). William Baldwin portrayed Joe Hurley, while Oliver Platt portrayed Randy Steckle, bringing fresh energy to the ensemble.

Filming and Post-Production

Principal photography for Flatliners commenced on October 23, 1989, in , , and continued through early 1990, wrapping by January at . The production primarily utilized the campus of , leveraging its neo-Gothic architecture and lakeshore setting to capture the film's atmospheric university environments and establish a sense of eerie isolation. The flatlining sequences relied heavily on practical effects to simulate and near-death experiences, with the production team constructing underground tunnel sets beneath the campus to depict the characters' into realms; these sets presented logistical challenges due to their confined spaces and the need for controlled lighting to maintain tension. Medical consultants were consulted to ensure the procedural accuracy of the revival scenes, grounding the speculative elements in realistic protocols. Post-production took place at Sony Pictures facilities, where editor Robert Brown assembled the footage with an emphasis on rhythmic pacing to heighten suspense during the escalating hallucinations and confrontations. were minimal, confined to subtle enhancements for the hallucinatory visions achieved primarily through practical makeup and set design rather than digital compositing. Director instructed cinematographer to employ neo-Gothic lighting techniques, using dramatic shadows and diffused illumination from overhead sources to amplify the horror elements and evoke a foreboding, otherworldly tone throughout the film's interiors. The principal shoot concluded ahead of schedule, allowing additional time for refinements in .

Narrative and Cast

Plot Summary

At the School of Medicine, ambitious senior Nelson Wright () becomes obsessed with exploring what lies beyond death after hearing accounts of near-death experiences. He proposes a clandestine experiment to "flatline"—temporarily stopping his heart and activity for one minute—while his classmates monitor and revive him using medical equipment in the abandoned beneath the campus. Despite initial and ethical debates about the risks of such unauthorized procedures, Nelson recruits fellow students Rachel Mannus (), a devout Catholic struggling with her faith; David Labraccio (), a cynical ; Joe Hurley (), a cocky womanizer; and Randy Steckle (), the group's comic-relief tech expert. The experiment begins with Nelson, who flatlines successfully and reports a blissful vision of a bright , a snowy , and laughing children, igniting the group's curiosity. Emboldened, Rachel volunteers next, extending the duration to two minutes; she encounters a harrowing vision of her childhood home, where she relives the devastating moment her father commits in front of her, a trauma she has carried into adulthood. David follows, flatlining for three minutes and later confronting memories of childhood , where he and his friends tormented a young boy, leading to lasting guilt over the boy's subsequent . Joe pushes further to four minutes, experiencing visions that reveal his pattern of emotional callousness as a womanizer who secretly filmed intimate encounters with women without their . Randy, reluctant but competitive, attempts five minutes but aborts early after glimpsing terrifying, indistinct shadows that leave him shaken. As the experiments escalate, the students' past sins begin manifesting as supernatural hauntings in their daily lives, blurring the line between and . Nelson is relentlessly pursued by the vengeful spirit of Billy Mahoney, the boy he bullied to death as a child by throwing rocks from a bridge, causing Billy to fall; the apparition attacks Nelson with rocks and nearly kills him multiple times. Rachel is tormented by her father's ghostly presence, who silently judges her from shadows and attempts to pull her into the . David is attacked repeatedly by the spectral boy he tormented, who wields a in brutal assaults during his hospital rounds. Joe is confronted and physically assaulted by the women from his past, who appear suddenly in mirrors and spaces, luring and beating him in acts of retribution. Randy faces , demonic figures that mock his insecurities and past dishonesties, driving him to . The group realizes the flatlining has somehow bridged the living world with the , summoning these punitive entities as physical threats. Desperate to end the hauntings, the students track down the real-life counterparts from their visions where possible—Nelson locates Billy's family to atone, David seeks out information on the bullied boy to apologize, and Joe destroys his tapes and confronts his betrayal—finding that facing their guilt diminishes the attacks. In the climax, they return to the for a collective , venturing back into the "" to resolve unfinished business: Nelson saves Billy from falling, comforts her father before his death, and the others make amends in symbolic reenactments. Revived, the hauntings cease as the group achieves personal redemption through and . The film concludes with the students resuming their lives, forever changed, but with lingering ambiguity about whether the truly exists or if it was all a manifestation of their guilt.

Characters and Performances

The central character, Nelson Wright, portrayed by , is depicted as an insanely ambitious and arrogant medical student driven by an obsessive curiosity about the , initiating a dangerous experiment to simulate death among his peers. Sutherland's performance registers a real presence in this demanding role, delivering intensity and arrogance that underscore Nelson's internal conflicts and escalating desperation. Rachel Mannus, played by Julia Roberts, serves as the group's empathetic moral conscience, characterized by her sensitivity, introversion, and private motivations for exploring near-death experiences, which reveal her vulnerability to haunting visions. Roberts brings warmth and emotional depth to the role through subtle expressions, making Rachel's introspective focus a graceful highlight of the film. David Labraccio, embodied by , is a cynical student grappling with past trauma from his childhood , providing some levity to the group before the horrors intensify, while acting as a morally decent to the others. Bacon's charismatic and convincing portrayal adds emotional conviction, effectively balancing tension with the character's deepening distress. In supporting roles, Joe Hurley, played by , is the irresponsible womanizer whose carefree attitude amplifies the group's dynamics, with Baldwin continuing to show promise in ensemble casts despite the script's superficiality. Randy Steckle, portrayed by , offers skepticism and as the pragmatic doubter questioning the experiment's motives, with Platt's dry wit lending reliability to the ensemble in one of his early prominent film appearances.

Release and Commercial Aspects

Distribution and Premiere

The world premiere of Flatliners took place on August 6, 1990, at in Hollywood, . The film was then theatrically released in the United States on August 10, 1990, by . Following its domestic debut, Flatliners saw a limited international rollout beginning in September 1990, with releases in markets such as on September 20 and continuing into October in countries including and . The Motion Picture Association of America (MPAA) assigned the film an R rating due to intense violence and language, positioning it for adult audiences drawn to psychological thrillers. In 1991, TriStar Home Video issued on , broadening access to the film beyond theatrical screenings. This release, dated February 13, 1991, allowed viewers to experience the film's exploration of near-death experiments in a more private setting.

and Box Office

launched a campaign for that centered on the film's provocative premise of exploring life beyond death, using the "Some lines shouldn't be crossed." Trailers and TV spots, which aired throughout the fall of 1990 following the film's August release, emphasized the star power of , , , , and , while building suspense around the students' dangerous experiments with near-death experiences. Promotional posters depicted the in shadowy, introspective poses against stark backgrounds, incorporating medical motifs like heart monitors and ethereal glows to evoke the thriller's themes of mortality and the . The campaign's focus on intellectual horror appealed to audiences seeking more cerebral scares amid the post-1980s shift away from pure slasher films. debuted at number one at the North American , earning $10.0 million in its opening weekend of August 10–12, , from 1,319 theaters. The film ultimately grossed $61.5 million domestically and the same amount worldwide, on a of $26 million, marking a profitable return that helped stabilize during a challenging period. Key factors in its commercial success included the allure of its high-profile cast—particularly Roberts, fresh off her breakout in —and the timely alignment with evolving horror trends favoring psychological depth over .

Reception and Analysis

Critical Response

Upon its release in 1990, Flatliners received mixed reviews from critics, who praised its atmospheric tension and visual style while critiquing its narrative contrivances and underdeveloped philosophical elements. awarded the film three out of four stars in his August 10, 1990, review, commending director Joel Schumacher's intelligent direction and the film's original thriller elements, but noting that the plot's manipulations detracted from its thematic brilliance and required restructuring for greater impact. The film holds a 50% approval rating on , based on 54 reviews, with the site's consensus highlighting the impressive cast, striking visuals, and effective mood, though it fails to fully bring the story to life. Critics frequently lauded Schumacher's stylish direction and the ensemble's chemistry, particularly the performances of , , and , which added emotional depth to the characters' moral reckonings. However, common criticisms included the clichéd hauntings and the superficial treatment of its scientific and ethical inquiries into near-death experiences. Variety's review described Flatliners as a "strikingly original, often brilliantly visualized " that builds tension through its cautionary sci-fi horror framework, though it ultimately adheres to traditional genre conventions. Similarly, of called it a "stylish, eerie laced with wit" that thrives on the characters' guilty secrets, deeming it greatly entertaining when viewed on its own terms. Audiences polled by gave the an average grade of "B+" on an A+ to F scale. Despite the divided critical reception, the 's commercial success underscored a broader appeal, grossing $61.5 million against a $26 million budget.

Themes and Stylistic Elements

The central theme of Flatliners revolves around guilt and , portraying the supernatural hauntings experienced by the characters as psychological manifestations of their unresolved past sins. These visions force each protagonist to confront childhood transgressions, such as or abandonment, which escalate into terrifying reprisals until redemption is sought through and reparation. This moral framework draws from Catholic undertones prevalent in director Joel Schumacher's oeuvre, evident in the film's setting within an abandoned wing of a Catholic in , symbolizing a space where sins are judged and absolved. Schumacher emphasized this ethical intent in discussions, framing the narrative as a cautionary fable about the inescapability of personal responsibility, where alone halts the cycle of torment. The film further explores the ambiguity of the , blending scientific with elements to question the nature of near-death experiences without providing definitive answers. Medical students induce to glimpse what lies beyond, initially encountering euphoric visions of light and peace, only for these to invert into horrors rooted in the psyche rather than an external realm. This tension underscores a philosophical : whether the "other side" is a objective reality or a projection of the , leaving audiences to ponder the boundaries between empirical and metaphysical . Stylistically, Schumacher employs Gothic visuals to heighten the dread, featuring shadowy cathedrals and cavernous architecture in the medical school's underbelly, evoking a sense of eternal judgment. Slow-motion sequences during the flatlining procedures build , elongating the moment of to mimic the characters' suspended . The color palette shifts deliberately from sterile clinical whites in scenes to ominous dark reds and blues in hallucinatory episodes, symbolizing the transition from rational to visceral . In its psychological horror elements, Flatliners echoes contemporary 1990s films like Jacob's Ladder, sharing motifs of guilt-induced visions and blurred realities between life and death, though Schumacher's work leans more toward moral allegory than existential descent. This alignment positions Flatliners within a wave of late-1980s and early-1990s cinema that probed the mind's fragility under supernatural duress.

Music and Legacy

Original Score and Soundtrack

The original score for Flatliners was composed by , marking one of his early major orchestral efforts blending live instrumentation with electronic elements. The score employs a full conducted by , with orchestrations by and Brad Dechter, to underscore the film's exploration of mortality and the . Choral passages provide an ethereal texture particularly in sequences depicting near-death experiences and the , evoking a sense of transcendence and dread. Synthesizers are integrated to generate pulsating tension, notably in motifs accompanying the flatlining procedures and ensuing psychological turmoil. Howard's music functions to amplify the characters' hallucinatory visions and moral reckonings, using subtle dynamic shifts to maintain focus on the dialogue and performances rather than dominating the narrative. This restrained approach allows the score's darker, percussive rhythms and soaring strings to punctuate moments of revelation without overwhelming the scene's intimacy. The composition's stylistic with the film's shadowy visuals and rapid enhances the overall sense of unease and . A commercial soundtrack album was released in November 1990 by ' Colpix imprint, featuring 11 tracks that include select cues from Howard's score alongside licensed songs. Key inclusions from the score are "," "Redemption," "First Expedition," and "," which highlight the thematic progression from to . The album closes with Duane Eddy's instrumental "Extreme," tying into the film's high-stakes experimentation. Recorded in 1990 and mixed by Shawn , the score prioritized live orchestral sessions to achieve its layered, immersive quality. In October , coinciding with the film's 35th anniversary, Intrada Records issued the world premiere release of the complete score as a limited-edition (ISC 526), featuring nearly 80 minutes of music across 39 tracks, including demos and alternates. Produced by Stéphane Humez and mastered by Maxime Marion, with by Kaya Savas, the presents the full recording sessions for the first time.

Remake and Cultural Impact

A remake of Flatliners was released in 2017, directed by Niels Arden Oplev and starring Elliot Page as Courtney, a medical student obsessed with exploring the afterlife, alongside Diego Luna as her colleague Jamie, Nina Dobrev, James Norton, and Kiersey Clemons. The film, produced by Columbia Pictures, premiered on September 29, 2017, with a budget of $19 million and grossing approximately $17 million in the United States and Canada. It received overwhelmingly negative reviews, earning a 4% approval rating from critics on Rotten Tomatoes, who frequently criticized it for lacking originality and failing to capture the psychological depth of the original. While retaining the core premise of medical students inducing near-death experiences to confront personal guilt, the 2017 version updates the narrative with contemporary elements such as , , and digital technology, shifting some focus toward modern ethical dilemmas in and personal atonement. Unlike the 1990 film, which emphasized supernatural hauntings tied to childhood sins, the incorporates more ensemble-driven dynamics among a diverse group of characters and features in a cameo as a , bridging the two eras without directly continuing the original storyline. These changes aimed to refresh the thriller for a new audience but were often seen as superficial, contributing to its commercial underperformance relative to expectations. The original 1990 Flatliners, directed by , has achieved cult status over the decades, particularly through releases and 4K restorations that have sustained its popularity among fans of and sci-fi thrillers. It inspired broader media discussions on near-death experiences, blending scientific curiosity with elements in a way that echoed real-world debates in outlets like , where the film's premise was referenced as a cultural touchstone for exploring beyond . The movie's portrayal of guilt and redemption has retrospectively gained appreciation for its prescient handling of themes, such as trauma's lingering effects, positioning it as an underrated entry in Schumacher's that influenced later works, including visual nods in episodes of medical dramas like The Good Doctor. Despite no major awards beyond an Academy Award nomination for sound editing, Flatliners continues to be cited in analyses of concepts and ethical experimentation in cinema.

References

  1. https://www.rogerebert.com/reviews/flatliners-1990
  2. https://www.latimes.com/archives/la-xpm-1990-08-07-ca-336-story.html
  3. https://www.commonsensemedia.org/movie-reviews/flatliners-1990
  4. https://www.imdb.com/title/tt0099582/
  5. https://www.rottentomatoes.com/m/flatliners
  6. https://www.the-numbers.com/movie/Flatliners-%281990%29
  7. https://www.hollywoodreporter.com/movies/movie-reviews/flatliners-review-1044455/
  8. https://www.scribd.com/document/757938905/Arrow-Flatliners
  9. http://rheaven.blogspot.com/2011/05/flatliners.html
  10. https://catalog.afi.com/Catalog/moviedetails/58508
  11. https://www.in70mm.com/festival/bradford/year/2018/intro/index.htm
  12. https://www.denofgeek.com/movies/looking-back-at-joel-schumachers-flatliners/
  13. https://www.remindmagazine.com/article/33976/flatliners-julia-roberts-kiefer-sutherland-kevin-bacon/
  14. https://www.msn.com/en-us/movies/news/5-things-you-didn-t-know-about-flatliners-julia-roberts-1990-horror-film/ar-AA1KfRuH
  15. https://www.chicagotribune.com/1990/08/08/chicago-quickens-pulse-of-flatliners/
  16. https://movie-locations.com/movies/f/Flatliners.php
  17. https://www.itsfilmedthere.com/2010/08/flatliners.html
  18. https://redwoodsmedicaledge.com/2018/03/01/medical-review-of-the-movie-flatliners-2-2/
  19. https://www.imdb.com/name/nm0114534/
  20. https://thestopbutton.com/2021/05/18/flatliners-1990/
  21. https://pro.imdb.com/title/tt0099582/
  22. https://variety.com/1989/film/reviews/flatliners-1200428422/
  23. https://www.hollywoodreporter.com/movies/movie-news/flatliners-2017-atones-sins-1990-movie-1044626/
  24. https://amazingstories.com/2018/02/film-reviews-flatliners-flatliners/
  25. https://www.thehaughtyculturist.com/films/flatliners-1990-explained-hell-and-hallucination/
  26. https://www.nytimes.com/1990/08/10/movies/review-film-young-doctors-explore-the-boundary-between-life-and-death.html
  27. https://www.imdb.com/title/tt0099582/releaseinfo/
  28. https://www.ebay.com/p/3158164
  29. https://www.ebay.com/itm/156462518034
  30. https://www.imdb.com/title/tt0099582/taglines/
  31. https://www.youtube.com/watch?v=OUDOE3MHSqs
  32. https://www.youtube.com/watch?v=vQuhrrlZjzI
  33. https://www.impawards.com/1990/flatliners.html
  34. https://www.boxofficemojo.com/title/tt0099582/
  35. https://www.hollywoodreporter.com/movies/movie-news/hollywood-flashback-1990-flatliners-resuscitated-columbia-pictures-1042659/
  36. https://www.upi.com/Archives/1990/08/13/Flatliners-comes-to-life-at-box-office/6406650520000/
  37. https://www.rottentomatoes.com/m/flatliners/reviews
  38. https://sony.fandom.com/wiki/Flatliners
  39. https://www.nytimes.com/1990/12/02/archives/the-twentysomethings-adrift-in-a-pop-landscape.html
  40. http://thehollywoodinterview.blogspot.com/2008/02/joel-schumacher-hollywood-interview.html
  41. https://www.academia.edu/452071/_Some_lines_shouldn_t_be_crossed_The_Resurrection_in_Joel_Schumacher_s_film_Flatliners_
  42. http://maddrey.blogspot.com/2012/07/movies-made-me-48-jacobs-ladder.html
  43. https://moviemusicuk.us/2020/08/27/flatliners-james-newton-howard/
  44. https://www.filmtracks.com/titles/flatliners.html
  45. http://www.soundtrackcollector.com/title/9143/Flatliners
  46. https://filmmusicreporter.com/2025/10/20/world-premiere-soundtrack-release-for-joel-schumachers-flatliners-announced/
  47. https://www.imdb.com/title/tt2039338/
  48. https://www.rottentomatoes.com/m/flatliners_2017
  49. https://www.hollywoodreporter.com/movies/movie-news/flatliners-reviews-2017-movie-gets-0-rating-rotten-tomatoes-1044585/
  50. https://www.kqed.org/pop/96490/in-defense-of-flatliners-yes-both-of-them
  51. https://www.inverse.com/entertainment/flatliners-35-year-anniversary
  52. https://www.npr.org/2009/05/22/104397005/decoding-the-mystery-of-near-death-experiences
  53. https://www.imdb.com/title/tt8707328/movieconnections/
  54. https://collider.com/joel-schumacher-movies-ranked/
Add your contribution
Related Hubs
User Avatar
No comments yet.