Every film that has ever been nominated for an Academy Award in any category. Enjoy!
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 in this atmospheric thriller featuring a star-studded cast.
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…
Many run-of-the-mill Hollywood directors can take a fun, pulpy script that revolves itself around some big reveal and turn it into a nice piece of entertainment with some fun clues hidden about, that you watch once and never feel any sort of inclination to watch again. However, very few directors can make a film with a big revel and work every single aspect of it to perfection, making it into an endlessly rewatchable piece of this much beauty and imagination. M. Night Shyamalan is clearly not a typical Hollywood thriller director or writer. His body of work (The Miscalculated Airbender aside) all have a certain timelessness and freshness with each rewatch, and for a director known for his big twists…
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…
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,…
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…
Is The Village starving for an intense critical reassessment? Probably not, but before it shoots itself in the foot during the third act, The Village has a lot of things going for it - good visuals, good atmosphere, good performances by a surprising amount of good actors, and a great soundtrack. It's a shame that the occasionally questionable script eventually buckles beneath the weight of Shyamalan's writing, because otherwise this would be one of the best "creatures in the woods" films ever made.
When did the wheels fall off for Night? The Village makes a case that they didn't if you put your expectations aside.
La obra más humana, desgarradora, hermosa y poética de Shyamalan. Su obra maestra.
It's easy to become savage toward M. Night Shyamalan's "The Village due to a couple of things". One being the terrible marketing by Touchstone Pictures - who claimed it as yet another Shyamalan horror story. Then there's the fact that the director's signature (and now parodied) plot twist wasn't necessarily one that is worthy of a "holy damn". But beyond that, "The Village" is Shyamalan's most accomplished work as a director; maybe not strongly written (as expected from him, unfortunately) but assembled with an informative (and quite touching) attention to allegory both political and psychological. It really defines the term "pure cinema".
This review reportedly contains spoilers. I can handle the truth.
Let me start by not talking about the ending. This movie mostly scared the shit out of me. I am not a horror movie fan so a suspenseful movie like this is enough to unsettle me. The look of the film is so beautifully creepy. When you pair this with the haunting music and 1890s style culture you have an eerie atmosphere. I'm already feeling uncomfortable in this desolate village so when you find out the beasts in the forest seem to be abandoning the "truce" I'm fighting the urge to flea from my tv screen.
The cast is filled with high quality actors so by all means that is not the problem here, but we'll get to that. Bryce…
The first time I saw The Village, I knew it was much better than some people had given it credit for. Watching it a second time, it's a wonderful movie cut with disappointing flaws, but I love it warts and all. There is so much of value here, and the second time it becomes a deep well of empathy. It's about fear and loss, not just the suspense and the mystery. I love love love it.
Terrible and with a "twist" so blatantly telegraphed you can call it from the trailer.
That's not what makes the Village awful though, that just makes it a waste of time. What makes it (and most of M. Night's films) difficult to stomach is the overbearing seriousness with which all of its nonsense unfolds.
It may be better than what followed, but I only conceded that in retrospect.
The Village no es una película que da miedo, posiblemente por esto muchas de las decepciones que causó y sigue causando en los espectadores, sino es una película que habla del miedo y cómo este obstaculiza para impedir al ser humano a hacer las cosas que quiere, ligado a este está ese sentimiento primitivo como lo es el amor.
En todas las películas que he visto de M. Night Shyamalan encuentro un estilo muy propio, unas ideas bastante buenas que no considero que están plasmadas a la perfección, pero no por eso dejan de ser interesantes. Acompañado nuevamente por James Newton Howard, una increíble fotografía del gran Roger Deakins y el trabajo de vestuario a la altura, hacen de este…
M. Night Shyamalan knows all the tricks, and indeed there's some nice work here: frighteningly suggestive negative space, wondrous sounds, seemingly organic shifts in perspective, such as one moment, during a stabbing, that implicates the viewer in the shock of this strange community's new, sudden violence. (Having Roger Deakins as your wingman and a stunning cast doesn't hurt.)
In all of this, Shyamalan errs. His direction accentuates the mythologized mysteries of this world, the lies told and the terrors they beget, all of it manufactured by the community's elders to maintain order and, we eventually learn, a doctrine of chaste, moral innocence. But what his direction and the structure of his script sell short is precisely what the concept needs.…
a list that is trying to contain every horror film made that is not lost and is found on the…
No idea if there is a list for this yet, but I think I will keep this as kind of…