Signs
Writer/director M. Night Shamalyan burst onto the scene in 1999 with The Sixth Sense, a riveting supernatural thriller with a wicked climactic twist. In 2000, he reteamed with actor Bruce Willis for the underrated Unbreakable, another fascinating supernatural thriller that also featured a climactic -- though some would argue less effective -- twist.
Now, M. Night Shamalyan returns with his third consecutive otherworldy tale. It stars Mel Gibson (in an intriguing performance) as Graham Hess, a former priest whose faith was destroyed by a family tragedy. Hess lives on a farm with his son Morgan (Rory Culkin) and daughter Bo (Abigail Breslin), as well as his much- younger brother Merrill (Joaquin Phoenix).
One day, Graham awakens to find that an enormous crop circle has appeared in his backyard. At first he suspects mischievous teenagers, but it soon appears that there may be something supernatural at work. These suspicions are confirmed when a breaking newscast reveals that similar crop circles are popping up around the world. As a scientist notes, "Either this is this is one of the most elaborate hoaxes in the history of the world ... or it's real."
In Signs, Shamalyan again showcases his impressive ability to build tension. The film's opening music nods to Hitchcock, and it's clear throughout that the "master of suspense" definitely influenced Shamalyan. Still, Signs is no hack rip-off. Through ingenious use of camera angles, lighting and music, M. Night expertly builds the suspense. Like the best directors, he understands how to tease an audience by showing them glimpses of the unknown, keeping the mystery intact until the tension has risen to near-unbearable levels. At the screening I attended, he had the audience squirming in their chairs during a scene in which Gibson tries to see what's on the other side of a door by slowly easing a knife under it.
Shamalyan is also a fine writer, and it shows in his strong characterizations. He doesn't just trot out cardboard characters and insert scares, he creates three-dimensional characters the audience will care about. Graham, a former main of faith now filled with pain, sorrow and bitterness, is just such a character.
Despite its many strengths, Signs also has plenty of weaknesses. Shamalyan's decision to isolate the Hess family from the outside world and keep the film's scope narrow never really gives you the feeling that the aliens' arrival is actually a worldwide event (despite a chilling birthday party scene allegedly taped in South America). The family's oddball response to the aliens' arrival doesn't instill credibility either. Board up the house? Hey guys, these are hostile aliens out there ... and this isn't The Birds. How about arming yourself with some weapons or getting the hell out of there?
M. Night also saddles us with some painfully obnoxious child characters. Just when I was starting to feel more positive toward the Culkin clan (check out Kieran's excellent turn in the The Dangerous Lives Of Altar Boys), Rory arrives with a sniveling know-it-all role that'll make you want to strangle him. It's surprising that a writer/director who could help deliver one of the most memorable child performances in the last decade (Haley Joel Osment in The Sixth Sense) would allow this.
Finally, Shamalyan's signature climactic twist fails to deliver the goods in Signs. In addition to having a distinct B-movie feel (Aliens this ain't), the ending seems a little more strained than his previous efforts.
Credit Shamalyan for reaching, though. Despite its failures, Signs remains admirable for its ambition and partial success. If you're looking for some fun entertainment and good scares, it's well worth checking out.
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Boozing and partying isn't the thrust of this scarefest.
Though there's not a lot of romance here, the combination of good scares and easy-on-the-eyes Mel Gibson and Joaquin Phoenix make this a solid date pic.
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