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The Morning After is a 1986 American psychological thriller film directed by Sidney Lumet and starring Jane Fonda, Jeff Bridges, and Raul Julia.It follows a washed-up, alcoholic actress who awakens on Thanksgiving morning beside the dead body of a photographer in his loft, with no memory of the events from the night before.
Eye bags – minor periorbital puffiness usually detectable below the eyes only. Periorbital edema. Periorbital puffiness, also known as puffy eyes, or swelling around the eyes, is the appearance of swelling in the tissues around the eyes, called the orbits. It is almost exclusively caused by fluid buildup around the eyes, or periorbital edema.
NAION usually presents suddenly as painless vision loss in one eye, often noticed upon waking up. The visual field defects can vary, and while some patients may experience immediate maximal vision loss, others may notice a gradual worsening. The optic disc in these cases can appear swollen, sometimes accompanied by hemorrhages. [41]
He winds up passed out on the beach. He suffers a terrifying attack of delirium tremens and wakes up in a mental ward. Even in this desperate circumstance, Fran stays with him and his sympathetic doctor informs him he can be helped, but his recovery is entirely up to him. Shortly afterward, Charlie escapes from the hospital and goes to a bar.
Frank Scheck of The Hollywood Reporter said "[Harold] succeeds in creating a quietly ominous tone that never lets up, with this being the rare modern horror effort that relies on suspense rather than bloodshed." [6] A group representing anesthesiologists in Ontario criticized the film following its release for having its "science completely wrong."
After retiring for the night, Jenai seems to wake up in the middle of the night and has trouble falling back asleep. Looking out the window to admire the view, she sees strange flashes of the Northern Lights in the distance.
In 1969, Dr. Malcolm Sayer is a dedicated and caring physician at a local hospital in the Bronx borough of New York City.After working extensively with the catatonic patients who survived the 1919–1930 epidemic of encephalitis lethargica, Sayer discovers that certain stimuli will reach beyond the patients' respective catatonic states; actions, such as catching a ball, hearing familiar music ...
But by the time the film is over, viewers are likely to wind up feeling like they’ve been stuck in traffic themselves". [2] Michael Rechtshaffen from the newspaper Los Angeles Times called the movie a "a talky adult comedy that finally succumbs to the confines of its setting despite a cute setup". [ 3 ]