2006 Directed by M. Night Shyamalan
Apartment building superintendent Cleveland Heep rescues what he thinks is a young woman from the pool he maintains. When he discovers that she is actually a character from a bedtime story who is trying to make the journey back to her home, he works with his tenants to protect his new friend from the creatures that are determined to keep her in our world.
Paul Giamatti Bryce Dallas Howard Bob Balaban Jeffrey Wright Sarita Choudhury Freddy Rodríguez Bill Irwin Jared Harris Cindy Cheung M. Night Shyamalan Mary Beth Hurt Noah Gray-Cabey Joseph D. Reitman Grant Monohon John Boyd Ethan Cohn June Kyoto Lu Tovah Feldshuh Tom Mardirosian David Ogden Stiers Maricruz Hernandez Carla Jimenez Natasha Perez Monique Gabriela Curnen Marilyn Torres George Bass Joel Marsh Garland James Breen Nell Johnson Show All…
Steve Boeddeker Lee Dichter Frank E. Eulner Marshall Winn Michael Semanick Scott Guitteau Michael Scott
En Godnattsaga Av M. Night Shyamalan, Senhora da Água
Monsters, aliens, sci-fi and the apocalypse Horror, the undead and monster classics Faith and religion scary, horror, creepy, supernatural or frighten fantasy, imaginative, magic, fairy tale or enchanted monster, creature, dinosaurs, scientist or beast death, profound, symbolism, philosophical or vision earth, sci-fi, space, spaceship or mankind Show All…
This corpse has been picked over plenty, and while I'll stipulate that it's a bit undercooked and pretty silly, on a rewatch I think it's one of those things you just have to deliberately slide into, which makes sense given that it's all of a piece with SIGNS and THE VILLAGE in its depiction of an insular community or group united by belief. You can choose to read Bob Balaban's character as a snipe at all critics, or you can take it as a representation of blanket, unfeeling skepticism. Up to you. Anyway, Shyamalan may exhibit all manner of ill-advised creative hubris but that doesn't mask his exceptional capabilities as a visual filmmaker. It's hard to make an ugly movie…
"He's hearing the voice of God through a crossword puzzle."
Acho que só o Apichatpong acredita tanto no poder sugestivo da história oral como o Shyamalan. E é uma crença no sentido de uma fé mística mesmo, fé em uma mitologia fantasiosa que foi perdida, uma mitologia essencialmente narrativa que parte da infantilização de alguns elementos justamente para revelar uma essência primária e poderosa das coisas.
O melhor de tudo é que o Shy faz isso com um humor tão espirituoso quanto excêntrico. Toda a deslocalização cotidiana desse filme parte de uma ridicularização meio frontal das coisas, mas é justamente a fé nesses elementos ridículos que os torna grandiosos. Fora todo um senso de união que o ambiente coletivo gera,…
84
M. Night Shyamalan's penchant for isolated communities, totems of loss and tragedy, and eccentric, fantastical concepts is given its most inwardly emotional landscape in Lady in the Water. An apartment complex, 'The Cove', is situated as a battleground for Shyamalan's anger - towards the Iraq war, his bruised ego, and his critics - while manifesting as a convoluted, at times cloyingly sincere bedtime story. But there's real pain buried deep down. And Shyamalan, teaming up with famed DP Christopher Doyle, works with his collaborators to bring it all to the surface. It's such a fragile movie. Watching Lady in the Water, it seems to fall apart, again and again, while Shyamalan picks up the scattered pieces and gently glues…
The ramblings of a lunatic, though beautifully shot.
The only proper response to seeing this film is a quiet, surprised "Oh."
self-evidently one of m. night's weakest, but if film critics weren't such whiny clueless babies they would have treated it as the unfortunate misfire it is rather than the colossal disaster it isn't. frankly i think he treats the profession too kindly here. having a bewildered character say "how could anyone be so arrogant as to assume they know another person's intentions?" is on the nose, sure, but it's an understandable reaction from an artist who felt he was being treated unfairly for reaching out of a box he never wanted to be put inside. besides, the critics who turned on him for shifting away from his earliest films' soft-prestige sensibilities were snider and stupider than any caricature could possibly…
The first film made after Shyamalan was really, truly widely rejected, with one clear focus: a world of characters who cannot accept pure storytelling. His pain is at the center of this solar system.
É tão difícil defender o que você ama incondicionalmente. Você percebe todos os problemas que os outros apontam, mas as qualidades, elas te parecem tão superiores que você os minimiza ou os ignora. Seu eleito é imperfeito, mas é seu. Você o escolheu assim que colocou os olhos nele e é natural que queira defendê-lo, afirmá-lo e celebrá-lo. O cinema é meu refúgio e quando eu separo um filme para ser meu, eu posso soar até arrogante ao expressar minhas razões para amá-lo, coisa que eu sempre faço por escrito porque sou um péssimo orador.
Com A Dama na Água foi exatamente assim. Assisti ao filme numa pré-estréia para uma platéia de convidados que gostam de pré-estréias, mas nem sempre…
I often talk about how much I want an adaptation of Stephen King's Lisey's Story but Lady In The Water is pretty much the... exact vibe for me. Super important that almost every shot before the Lady is introduced is obstructed - there is something missing from the lives of everybody in this, the decreasing length of Shyamalan's shots slowly finding the core of what makes these people tick - but this isn't a film about people; it's about conflict (involving people). If the Water is purity/the capacity to imagine & believe/where all myth comes from then the Land - the location of our narrative - is a blight on the freedom of half-lit 'truer' perception. Just look at how this…
Film #4 of Gustav's M.National Shyamalan-a-thon
I thought about it, but honestly could not arrive at an answer. I do not know what was going through M.Night’s mind when he came up with this idea. Even more baffling is what gave him the impression that this would work and be accepted. The concept is total bollocks. The juxtaposition of fairy tale elements along with reality simply does not work here, as all the characters are mere devices, cardboard-like, uninteresting, ill-conceived, and dreadfully executed. They come off looking utterly dim-witted as they are shown to comfortably believe in such fatuous happenings.
Part of my frustration stems from the fact that the film did not even deliver on the promise of an…
Yeah. I quite liked this one. Kill me.
Don’t get me wrong, it’s definitely flawed in a lot of ways based on how the story functions, certain dialogue feels so off, and a lot of its ideas don’t really land as hard as they should.
That being said, I appreciate a lot what M Night wanted to do with making this a fairy tale like story feel as interesting in the best way he could pull off. Plus James Newton Howard’s score is incredible, the horror like elements are great for the most part, the direction was solid, the cinematography is very good, and really great performances from Paul Giamatti and especially Bryce Dallas Howard (tho I wished she gotten more screen time and more fleshed out as a character) really shines through.
Flawed and doesn’t always work, but it’s far from his worst works, and one I quite enjoyed mostly.
