As noted by many, Afterschool is one in a bunch of teen death films, but that doesn't necessarily make it unoriginal or plot less. Afterschool does have a developing plot, but its visual side IS unoriginal. Many mention Van Sant's Elephant (2003), - personally I thought of Michael Haneke many times, especially his Benny's Video (1992), which is thematically similar and also must have been a visual inspiration for Afterschool. I do think that director Campos has succeeded in getting formidable performances out of his actors, especially Ezra Miller, who portrays adolescent depression and bewilderment forcefully, and Michael Stuhlbarg as the principal. With Afterschool, he has made one of the most depressing films American cinema has ever produced (that I've seen). EVERYTHING is wrong in the world portrayed in this film, and especially adults are univocally idiotic and destructive, they are hypocrites, mean, egotistic, inhumane, and/or stupid. It's almost as frustrating to watch as The Death of Mr. Lazarescu (2005), (grueling death realism for 150 minutes in Romania), but not as brilliant. I generously give 7 stars to Afterschool, because I am a huge Ezra Miller-fan, but be advised:This movie is very nearly impossible to love.

I remember first seeing the trailer for this a long while back and wanting to see this, but I just never got around to doing so. Now I don't know why I waited so long. I think this is a great film that takes a serious and realistic look at high school life. The characters mumble and show little emotion in an effort to blend in to their surroundings and not stick out, yet they all hide their own dark secrets and personality flaws from the rest of the world. They adapt voyeuristic tastes and view the troubles of others instead of deal with their own, whether through watching cell phone videos of student fights on YouTube or making such spying videos of their own. The acting does get a bit dull at times and tedious to follow along with, and the quiet audio and super-steady camera shots may start to drag on one's patience. But for the most part that fits along with the amateurish, voyeuristic mood of the piece. And the performances, for how plain they were, do captivate the audience in a neo-realistic sense. This is a director to keep an eye on in the future.

AFTERSCHOOL is a raw movie, and not in a good way. Unlike ELEPHANT or THE LIFE BEFORE HER EYES or even ACROSS THE UNIVERSE, this offering from Connecticut does a very poor job of building tension toward a cathartic climax. Instead, it allows a promising premise of an underclassman's video class assignment inadvertently capturing a moment of drama on campus to dissipate, petering out through a collage of implausible plot points, poor characterizations, and limp dialog. AFTERSCHOOL is raw as in raw eggs, and who likes those, except ROCKY and other such masochists? Perhaps this movie could be taken as a "morning after" pill; an antidote to the over-sexed, all-powerful Van Wilders and Stiflers of the Wild Bunch school of campus film-making. But with the two main characters a high school sophomore and freshman at a boarding school, what drugs and sexual misbehavior happens here (such as a nonchalant stroll to nearby a campus dale overlooked by upper floor school windows for a muddy consensual double-deflowering in broad daylight) seem beyond the pale for even these pampered yidiots. (Of course, there WAS that related item of Alaskan high school news a while back . . . )

Though it undoubtedly bears promise, this is a film which will test your patience like few others. The film is slow-paced, which one could argue is a way for Campos to build further isolation from the main character, yet fails to depict anything interesting in its entire running time.The characters are all cardboard-thin, save for the protagonist whose loneliness and eccentricity is apparent yet inaccessible. Believe me, I tried to feel some sort of emotional connection with him, but never achieved much except a strong yearning to fast forward the film through conversations that initially felt pointless and ultimately proved to be so. If Campos can take his skills of plot-structuring and possibly add more dialog to further reveal other aspects of his characters, then I strongly believe he has the potential to make an excellent film, but I just found this one to be an inaccessible drag.