![]() ![]() Night Shyamalan's meditative directorial storytelling is effective when it's soaking up biting material, when there's nothing to work with, quiet limpness dries things up and stiffens pacing, perhaps even dulls things down, and believe me, material to work with is in limited supply here. The film's narrative is kind of blandly structured, and that would be fine I suppose if it wasn't for atmospheric momentum's also being pretty bland, because even though M. ![]() Night Shyamalan's scripted plotting, who heights in momentum are few and far between, and bridged by some serious dragging in both material and filler that gradually leads to repetition, then continues to slip further in momentum until it inspires the aimlessness that the aforementioned tonal and focal unevenness hardly mends. Really, pacing problems are a relatively serious issue within this film, even in M. Ambitiously working to juice up a story with only so much potential, this film bites off more than it can chew in terms of tonal and focal layers, whose consistency is often startlingly glaring, at least enough lead to some sense of aimlessness, exacerbated by inconsistencies in pacing. Hey, he could have at least worked in the twist that by aliens, they actually meant Mexican immigrants who tried to trim some crops and then quit in time to create some kind of an unusual symbol in the field, but I guess we'll have to wait for Mel Gibson's cut for that kind of a film (Ha, racist jokes I still like him, though I am a conservative), and until then, we're going to have settle with this, which is fine with me, because this film is alright, though not without its share of problems.Īmong the most troubling elements in this film is, of course, inconsistency, even in tone, because the film will slap in some often fall-flat and sometimes even unrealistic comic relief to forcibly break serious tension, if not drama, and that's detrimental to focal evenness enough without being joined by throw-away breaks from the central plot and one too many layers to the central plot itself. Night Shyamalan from dragging things out as though the central conflict of this film was some kind of a twist, so, I don't know, maybe he doesn't know what to do when he can't toss in a twist somewhere. Like I said, it's not like this film's big twist was going to be that all of these strange occurrences are the doings of. Mad Max and Johnny Cash join forces to take on some extraterrestrials, and it's all orchestrated by the guy who did "The Sixth Sense", but no, people, this film isn't quite that exciting. You'd think that with evidence this big, the aliens would just go ahead and reveal themselves to Earth, but hey, I can understand why they'd want to hide, because Mel Gibson is hardcore to other ethnicities in real life, where he's not even a small-town priest, and only has Jews and blacks to worry about. "Sign, sign, everywhere a sign, blockin' out the scenery, breakin' my mind! Do this, don't do that can't you read the signs?" Oh hush, you knew it was coming, because my usual opener formula and this film's title provide bigger clues than the ones that the aliens appear to be providing. A unique story that explores the mysterious real-life phenomena of crop signs and the effects they have on one man and his family.ĭolby SR, DTS, Dolby Stereo, Surround, SDDS, Dolby A, Dolby Digital As he investigates the unfolding mystery, what he finds will forever alter the lives of his brother (Joaquin Phoenix) and children (Rory Culkin), (Abigail Breslin). Everything that farmer Graham Hess (Mel Gibson) assumed about the world is changed when he discovers a message - an intricate pattern of circles and lines - carved into his crops. ![]()
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