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After Everything

After Everything

Comedy · Drama · Romance · 2018

When Elliot, a brash 23-year-old living carefree in New York City, meets the sensible Mia and receives a damning diagnosis all in the same week, his world is turned completely upside down. But as their love blossoms amidst the chaos of his treatment, they discover that Elliot's illness is not the real test of their relationship – it's everything else.

Movie details

After Everything

“Love is sick.”

2018 Comedy · Drama · Romance 1h 34m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

When Elliot, a brash 23-year-old living carefree in New York City, meets the sensible Mia and receives a damning diagnosis all in the same week, his world is turned completely upside down. But as their love blossoms amidst the chaos of his treatment, they discover that Elliot's illness is not the real test of their relationship – it's everything else.

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 After Everything?

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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Spoiler Alert

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Names above the title

The people responsible.

Directed by

Hannah Marks · Joey Power

Written by

Hannah Marks · Joey Power

Jeremy Allen White

Jeremy Allen White

Elliot

Maika Monroe

Maika Monroe

Mia

Gina Gershon

Gina Gershon

Tracy

Marisa Tomei

Marisa Tomei

Dr. Lisa Harden

Joe Keery

Joe Keery

Chris

Dean Winters

Dean Winters

Blake

DeRon Horton

DeRon Horton

Nico

Court is in session

Put After Everything 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 Cool Ironist

“The strings are showing.”

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