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What Dreams May Come

What Dreams May Come

Drama · Fantasy · Romance · 1998

Chris Nielsen dies to find himself in a heaven more amazing than he could have ever dreamed of. There is one thing missing: his wife. After he died, his wife Annie killed herself and went to hell. Chris decides to risk eternity in Hades for the small chance that he will be able to bring her back to heaven.

Movie details

What Dreams May Come

“After life there is more. The end is just the beginning.”

1998 Drama · Fantasy · Romance 1h 53m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Chris Nielsen dies to find himself in a heaven more amazing than he could have ever dreamed of. There is one thing missing: his wife. After he died, his wife Annie killed herself and went to hell. Chris decides to risk eternity in Hades for the small chance that he will be able to bring her back to heaven.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over What Dreams May Come?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Vincent Ward

Written by

Ronald Bass

Robin Williams

Robin Williams

Chris Nielsen

Cuba Gooding Jr.

Cuba Gooding Jr.

Albert Lewis

Annabella Sciorra

Annabella Sciorra

Annie Collins-Nielsen

J

Josh Paddock

Ian Nielsen

Jessica Brooks Grant

Jessica Brooks Grant

Marie Nielsen

Max von Sydow

Max von Sydow

The Tracker

Wilma Bonet

Wilma Bonet

Angie

Court is in session

Put What Dreams May Come on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.