WAKING THE DEAD

WAKING THE DEAD is a noble but flawed drama about political ambition, romantic devotion, grief, and the struggle to remain mentally steady. The writing and acting give real weight to the relationship between Fielding Pierce and Sarah Williams, while the story explores how political and moral ideals affect an honest romance.

The film is also morally troubled. Its sexual relationship conflicts with Sarah’s professed Catholic faith, and the movie treats that contradiction without remorse or shame. Strong language, marijuana use, nudity, and disturbing hallucinations further limit its audience.

If you are a discerning adult willing to engage those concerns for the sake of the film’s thoughtful ideas and strong central performances, it is worth seeing. For children and young teens, choose something else.

In 1972, young Coast Guard officer Fielding Pierce meets Sarah Williams, a passionate hippie activist. He believes change comes through politics; she pursues it through protest and volunteerism. Their shared ideals draw them together, but their differing ambitions test the relationship.

Years later, Fielding is running for Congress when he begins seeing Sarah everywhere. As the visions disrupt his campaign and his relationships, he must confront grief, doubt, and the possibility that he is losing his sanity.

Three stars means this is a worthwhile minor effort rather than a major achievement. Billy Crudup and Jennifer Connelly give their best work in the reviewer's estimation, and many of their scenes shine because of the finely written arguments between them. The film fully explores political and moral ambition, especially how those ambitions affect a committed romance.

The acting beyond the leads is serviceable, though Paul Hipp's portrayal of Fielding's brother is described as a pot-smoking goofball. The film also suffers from one too many crying scenes. Its limited budget and lack of spectacle may make it a difficult sell, but the ideas and central performances give it substance.

WAKING THE DEAD presents a primarily romantic worldview in which love remains powerful even in the face of death. It also explores liberal political idealism, questioning political corruption while rebuking political superiority. Fielding shuns church and any profession of faith, while Sarah finds meaning in working with the Catholic church.

The film includes Christian elements such as churchgoing, blessings, prayers, priests, and compassion toward others. Yet Sarah’s fornication is presented without remorse or shame despite her professed faith. That disconnect weakens the film’s treatment of faith and raises the question of whether religious commitment can be separated from moral obedience.

The supernatural remains deliberately uncertain. Fielding’s visions of Sarah are never verified as ghosts, so the film does not support occult teaching in the manner of a story where ghostly reality is established.

The review praises Billy Crudup’s performance, including his resemblance to John F. Kennedy Jr., and says Jennifer Connelly stretches beyond her usual roles in a fine performance. Their work strengthens the film’s romantic and moral conflicts.

The film’s central longing is for closure, lasting love, and the ability to move forward after loss. Scripture points beyond earthly romance to a hope that death cannot defeat: “He will swallow up death forever” (Isaiah 25:8).

WAKING THE DEAD offers thoughtful writing, strong central performances, and serious questions about love, politics, faith, and grief. Its sexual content, language, marijuana use, nudity, and disturbing visions make the audience adults only. Our answer is WORTH THE TRIP — ADULTS ONLY. For a different family movie choice, see.