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It's not easy to be M. Night Shyamalan these days. Trying to quell leaked plot twists and rumors floating around the Internet is a formidable challenge, but far more challenging is knowing that every film you make will ultimately be compared to the one which brought you to fame. From just about any other director, The Village would be a rather impressive film, but from the man who introduced the phrase "I see dead people" into our vernacular, many will see it as a disappointment.
The Village is described as a story about a "close-knit community that lives with the frightening knowledge that creatures reside in the woods around." Despite this, and despite the creepy trailers and curiousity-based marketing campaign, Shyamalan insists that it's a love story at heart., and ultimately it is. The relationships between characters get plenty of attention, and direct their actions in believable ways. Most moviegoevers would be indifferent to this sort of character development, focusing instead on the next plot twist, but a strong cast helps keep our focus on the characters and their motivations.
The most talked about in the ensemble cast has been newcomer Bryce Dallas Howard (daughter of Ron), who plays Ivy Walker, blind daughter of one of the village's elders. The talk is justified; she has a great deal of screen time and is one of the few actors who delivers her slightly archaic lines without sounding uncomfortable or stilted. If this movie is remembered for anything other than its ending, it will be remembered for Howard's incredible debut.
The ending is bold, and will probably be a bit too surreal for some moviegoers. It's a "fair" ending, in the sense that it's consistent with what comes before it, but many will feel cheated anyway.
It is ironic that The Village has been released in this particular election year, right between the Democratic and Republican conventions, as the film's climax should prove to be every bit as divisive with moviegoers as the current political climate is with voters. It's more ironic still that the ending resembles a political ploy; it is a definite risk on Shyamalan's part, but is presumably there to satisfy his core base of fans.
Technically, the film is every bit as brilliant as Shyamalan's previous efforts. Interesting camera angles are used to great effect, as are various shadows and fogs. So is his unofficial trademark of terror through silence. Night knows when to back off, and let the audience raise their own tension level. He understands that a good thriller is as much about what you don't show as what you do.
Those eagerly waiting for the end of the quasi-official trilogy which began with Unbreakable and Signs might be let down slightly. The twists and turns in The Village are of an entirely different nature than the revelations in his last few films. Still, it's a technically impressive, well-acted film with a daring ending and a few truly superb moments. It's only the expectation that Shyamalan brings with him that will stop this film from receiving rave reviews across the board.
The Village is a small step down for this accomplished young filmmaker, but it'd be a step up for most others, and earns the price of admission with strong performances, well-crafted cinematography, and sheer cinematic moxie. It is truly a love-it-or-hate-it film, and needs to be seen for its ambition alone.
The Village is described as a story about a "close-knit community that lives with the frightening knowledge that creatures reside in the woods around." Despite this, and despite the creepy trailers and curiousity-based marketing campaign, Shyamalan insists that it's a love story at heart., and ultimately it is. The relationships between characters get plenty of attention, and direct their actions in believable ways. Most moviegoevers would be indifferent to this sort of character development, focusing instead on the next plot twist, but a strong cast helps keep our focus on the characters and their motivations.
The most talked about in the ensemble cast has been newcomer Bryce Dallas Howard (daughter of Ron), who plays Ivy Walker, blind daughter of one of the village's elders. The talk is justified; she has a great deal of screen time and is one of the few actors who delivers her slightly archaic lines without sounding uncomfortable or stilted. If this movie is remembered for anything other than its ending, it will be remembered for Howard's incredible debut.
The ending is bold, and will probably be a bit too surreal for some moviegoers. It's a "fair" ending, in the sense that it's consistent with what comes before it, but many will feel cheated anyway.
It is ironic that The Village has been released in this particular election year, right between the Democratic and Republican conventions, as the film's climax should prove to be every bit as divisive with moviegoers as the current political climate is with voters. It's more ironic still that the ending resembles a political ploy; it is a definite risk on Shyamalan's part, but is presumably there to satisfy his core base of fans.
Technically, the film is every bit as brilliant as Shyamalan's previous efforts. Interesting camera angles are used to great effect, as are various shadows and fogs. So is his unofficial trademark of terror through silence. Night knows when to back off, and let the audience raise their own tension level. He understands that a good thriller is as much about what you don't show as what you do.
Those eagerly waiting for the end of the quasi-official trilogy which began with Unbreakable and Signs might be let down slightly. The twists and turns in The Village are of an entirely different nature than the revelations in his last few films. Still, it's a technically impressive, well-acted film with a daring ending and a few truly superb moments. It's only the expectation that Shyamalan brings with him that will stop this film from receiving rave reviews across the board.
The Village is a small step down for this accomplished young filmmaker, but it'd be a step up for most others, and earns the price of admission with strong performances, well-crafted cinematography, and sheer cinematic moxie. It is truly a love-it-or-hate-it film, and needs to be seen for its ambition alone.