User Reviews

What an amazing concept. I like the way the protagonist couldn't distinguish what was real and what wasn't. Definitely, the pinnacle of this season.

Another sub par episode, with a lot of psychological mumbo jumbo to justify the action.

The plot just doesn't kick, although you can see the effort of the cast and crew to make it happen; but it is just too convoluted and the connection that makes Aaron Stanford's character so tuned in to make the reenactment of the murder possible is never explained, at least I could not get it.

I don't know, this "Dead Again" wannabe is annoying, the characters are not likable, the constant light changes to mark the flashbacks and present day scenes are only splashed in your face, never made organic by the director.

Even the generous amount of blood doesn't save it from being one of the worst episodes in the series.

To end it, the cast gives a bad performance across the board, with the awful Eric Balfour receiving the crown of Wooden King. Who casts this moron?

The affable and good-natured Stephan (a fine and likable performance by Aaron Stanford) moves into a house where he discovers he lived 88 years ago in a previous life. Stephan is plagued by troubling visions and memories of said past life in which he might have been a murderer. Director Rufus Wainwright, working from an intriguing script by Sean Hood, relates the engrossing story at a constant pace, offers a flavorsome evocation of the roaring 1920's past, creates and sustains a creepy atmosphere, builds a substantial amount of tension, and delivers plenty of strong and disturbing violent images. The sound acting by the capable cast holds it all together: Stanford registers well in the demanding lead, Camille Guaty excels in a juicy duel role as Stephan's sweet, but long-suffering lady friend Karen and sassy'n'sexy flapper Zelda, and Eric Balfour contributes a frightfully intense portrayal of cocky and angry no-count Maxwell. Moreover, this episode has an interesting take on the premise of reincarnation. The surprise bummer ending packs a pretty wicked punch. Nicholas Pike's shuddery score hits the nerve-jangling spot. John Spooner's stylish cinematography gives the 20's flashbacks a lyrical golden hue. A worthwhile episode.