The Jupiter Ascending Stigma™️ is a cinematic event whereas the audience desperately asks for innovative, or simply more creative and…
There is no turning back
When a willful young man tries to venture beyond his sequestered Pennsylvania hamlet, his actions set off a chain of chilling incidents that will alter the community forever.
Serenely volatile cinema, and as gorgeously engulfing as anything M. Night Shyamalan has ever crafted. I usually try to not be one of those viewers that proclaims a particular film as "misunderstood" or "underrated", but I still can't fathom how the general audience sees this as a "bad Twilight Zone episode", especially because even (and not only) on a surface level, The Village is astonishing.
With Roger Deakins' cinematography establishing unprecedented atmosphere and James Newton Howard scoring one of the finest soundtracks of the 21st Century; The Village flourishes because of its visual/aural elements, both of which compliment the tender love story at its core. M. Night tackles this tale with the mindset of being a genuine artist with…
M. Night Shyamalan gets a lot of criticism, some justified some not so much.
To me Shyamalan always started out as a storyteller, who later grew into a director and ended up falling for the ego trap created around him by himself and the industry. This is perhaps his last well balanced and decent film.
Now, my appreciation of it stems in everything that precedes the obligatory twisty turny ending. It's not that I find the ending bad, or the twist weak, but I'd have been really surprised had he been able to finish this story normally. Towards the end the narrative seems to have one purpose in mind and one purpose only and that is to get you to…
M. Night Shyamalan's greatest aptitude might be that of control. His restraint has evanesced as of late, but there's no doubt it was once fiercely coursing through his style and approach. The Village, the last of the omnipotent Shyamalan, is also the final time his meticulousness and discipline was so completely illustrated and employed. His management of tone and ambiance is vigorous and so too is his narrative; one that gradually unravels in the most gratifying way. Audacious, clever and scrupulously structured, this is one of the most unfairly treated films of the 21st century.
Perilous creatures lurk on the outskirts of town, and the way in which Shyamalan amalgamates this with everyday life is subtle and cogent. The threat…
Not Quite Hoop-Tober: Day 17
The Village is a film that I really like to stand up for. I get an almost perverse joy out of defending it. And it's not just that I enjoy talking out of my butt (although that's also the case). I genuinely think there are interesting ways to interpret the film. The readings aren't unbreakable, of course, but they're intriguing enough to keep my brain at attention. That and I think Shyamalan gets a bit more flak than he deserves. But today I learned (or relearned, perhaps) that, as much as I like talking about this film, I don't particularly love watching it.
I first saw The Village ten years ago when it was in…
What is the purpose of our existence? We cannot deny the fact that despite all the progress that humanity has made through the ages, it still remains answerless, cureless to the immeasurable crimes committed, wars waged, blood shed, atrocities inflamed, jealousies spurred, angers incited and the illimitable greed for more. The law is unneeded in a place where money is immaterial, sinful acts are unheard-of, races remain undifferentiated, contentedness instilled is paramount, the happiness engulfing is unbounded and the tranquillity embracing is unprecedented. Would we shun away the offer to live in such a place if it cost us only a lie? A simple, harmless lie that would forever change the course of things,…
I am doing so fucking badly right now but this film makes everything better. A set of characters who fought to escape a system and did, ultimately imposing another set of constraints upon themselves because the only way us humans know how to function is through constructs and control; bedtime stories meant to give children nightmares, fascism, capitalism and corporate greed. The only way we know of to process ourselves is through meta-cognitive art; it is entirely genius that the end reveal of the film reconstructs the entire process of Shyamalan's storytelling, as contemporary life continues to be a vicious cycle even for those who have managed to escape it: living outside human construct is all very well until you…
I enjoyed this and don't care what anyone says, goddamnit. 3/5 though because it's hard watching it a second time (which I do with every movie).
This review may contain spoilers. I can handle the truth.
"Do not get into conversations."
The elders want to protect innocence, but the one character who is described as innocent (Noah) is the one who becomes murderous. Yes, oppression and hiding truth are the enemies but so is complacency, no one ever wants to admit how much easier it is to follow the rules, to play the role that's been set out for you, than to reject the rules in favor of basic human compassion, even if you made the rules yourself and are fully aware of how flawed they are. How easy it is to allow yourself to become a passive actor in your own play.
After this film, Shyamalan would give up completely on trying to make everything…
this movie is so creepy, made me afraid of Taylor swift's song "safe and sound" because of the resemblance of the setting
I'd rate this lower if i could.
This review may contain spoilers. I can handle the truth.
Impeccably designed. This seems to be Shyamalan's most skeptical representation of faith, as religious believers are represented as ardent luddites who lock themselves away from the rest of the progressing world. However, once the real world is discovered, atheists (i.e. Shyamalan's self-effacing self-casted role) are shown to be cold and unempathetic, believing that the only way to solve any problems is to ignore them. Whether you have faith or not, it doesn't matter. In Shyamalan's world, both are double-edged swords.
I'm also noticing a reoccurring motif in his films concerning newspapers. In Unbreakable , they're used to transform a normal human being into a deified piece of media for the masses. Here, the fact that we see Shyamalan's character reading…
aw maan! What a disappointing film. Another plot-twister which seems to be the only thin M.N. Shy. knows (and not even that well for that).
What a waste of time.
Lots of fascinating work here, both conceptually and technically (but moreso for the former). I'm reminded quite a bit of the (brilliant) television series The Leftovers as I watch this, largely because both works revolve around a society attempting to consolidate their world following trauma, to create something anew. Groups of people struggling, trying to move on, to regress in one way or another. Perhaps they are faulted in their mechanisms of change, but their actions are nevertheless rooted in deeply human responses to deeply humanistic pain. Moreover, an ambiguity as to whether or not the means these people use to help themselves move past their pain / trauma is truly helpful, or even realistic, permeates both works. Yet neither…
Una volta svelato il segreto del villaggio si vorrebbe solo riavvolgere il film col desiderio di un colpo di scena totalmente diverso. Come una silenziosa atmosfera rotta da un berciare improvviso.
you may run from sorrow as we have
Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!