Review: Signs (2002)
Eugene Novikov
Reviewed by Eugene Novikov
http://www.ultimate-movie.com/
Starring Mel Gibson, Joaquin Phoenix, Rory Culkin, Abigail Breslin, Cherry
Jones, M. Night Shyamalan.
Directed by M. Night Shyamalan.
Rated PG-13.
"It's happening."
**While I avoid venturing into true spoiler territory, I do describe the
plot of a movie best seen cold. If you care about such matters, best save it
for later.**
Regular readers of this site will know that there is no director whose next
project I anticipate more fervently than M. Night Shyamalan, the almost
unreasonably talented auteur whose The Sixth Sense shocked the nation, and
whose follow-up Unbreakable left most people cold, though I walked out
gasping for breath. His filmmaking sensibilities are amazingly in tune with
my own, namely his affection for slow-moving suspense dramas, the kinds of
films that mount tension gradually, keep us on the edge of our seats with
what's left just out of frame. He has been hailed as the new Hitchcock; a
more accurate description might be the new Roman Polanski.
Signs, a remarkably engaging technical masterwork, is Shyamalan exploring
new aspects of the suspense genre while remaining firmly planted within his
niche. Like Unbreakable, it takes an established archetype and brilliantly
turns it on its head. This is a bona-fide alien invasion story, think War of
the Worlds and Independence Day, told entirely from the vantage point of a
family that decides to board up inside their farmhouse and ride out the
storm. No clandestine paramilitary operations or Will Smith chasing baddies
through the skies hereabouts. The spaceships are seen only as fuzzy pictures
in news broadcasts. As for the actual aliens, you'll have to see for
yourself.
The family in question is headed by ex-reverend Graham Hess (Mel Gibson),
who quit the church just months earlier, after losing his wife in a brutal
car accident. His brother Merrill (Joaquin Phoenix) used to be a
minor-league baseball star who quit because he held the strike-out record
along with the home run record. Morgan (Rory Culkin) is an inquisitive,
intelligent boy with a bad case of asthma, and little Bo (Abigail Breslin)
has an obsession with her drinking water. This may be, in all seriousness,
the most wholesome portrayal of family seen on screen in decades; their
relationships aren't all sunshine, lollipops and rainbows, but their intense
love for each other is evident in scene after uncommonly intelligent scene.
As a pure technical exercise, the movie has few equals; not even Fincher's
Panic Room, this year's other pure suspense machine can match it. Shyamalan
never steps wrong, never reveals more than he has to, teases us, plays with
our minds, all the while withholding a remarkable number of things from his
audience. There's a scene in which the screen goes black while bumps and
crashes are heard -- I won't reveal its exact circumstances, but suffice it
to say that it's a pivotal moment -- and while it may sound like Shyamalan
is simply recycling an age-old standby, its set-up is such that the effect
is breathtaking.
The guy is clearly a fan of pointing the camera where the action isn't, and
surprisingly, it works time after time. He even uses this technique on key
character moments that aren't meant to be scary: a crucial Gibson monologue
occurs with Phoenix's face filling the screen. He films many scenes in long,
continuous takes, not afraid to make the actors earn their paychecks and
occasionally put pressure on some attention spans. He's assisted by a
beautiful score by James Newton Howard, versatile despite repeating the same
insanely catchy theme.
Indeed, Signs is so smart, so scary, so moving, so perfect in so many ways
that it smarts to have to stick that addendum onto yonder grade.
Unfortunately, Shyamalan's admirable intention to have his films be about
something in this case leads to a rather simplistic, heavy-handed message
delivered with all the subtlety of a bowling ball across the jaw. The movie
is meant as an affirmation of faith, delivering the message that we are all
better off believing that there is something, someone out there to help us,
that there is no such thing as a coincidence, that "luck" is a poor man's
miracle. And while this never interferes with the rest of Shyamalan's
creation -- the sudden, abrupt ending is powerful with or without the the
message it hammers in -- it's a misstep in an otherwise meticulous
composition, more than up to the high standards this brilliant young
filmmaker has already set for himself.
Grade: A-
Up Next: Mr. Deeds
©2002 Eugene Novikov
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Jon Popick
"We Put the SIN in Cinema"
© Copyright 2002 Planet Sick-Boy. All Rights Reserved.
If you enjoyed M. Night Shyamalan's The Sixth Sense and Unbreakable, you
will most likely dig his new film, Signs. While it's a lot more
manipulative and slightly more hokey than his previous two films, Signs is
everything a big summer blockbuster ought to be: Entertaining, derivative,
full of big stars and shaky under post-viewing scrutiny. Even though a lot
of people at my preview screening didn't think the movie worked, it was the
quietest and most freaked-out I've seen an audience since What Lies Beneath.
You'll forget there's anything but an edge to your seat.
Signs is set in Buck County, Pennsylvania (just outside Shyamalan's usual
Philadelphia setting) and begins with farmer and former pastor Graham Hess
(Mel Gibson, We Were Soldiers) startled from a dead sleep. He instantly
knows something is amiss, and thanks to the eerie photography, so do we.
Hess and younger brother Merrill (Joaquin Phoenix, Quills), a Dave
Kingman-esque minor league baseball reject, discover a giant, intricate
pattern carved into their huge cornfield. Graham assumes it's the work of a
prankster, even after he clicks on the television and discovers similar crop
circles have appeared throughout the world. Strange second-hand stories
told via the local sheriff (Cherry Jones, Divine Secrets of the Ya-Ya
Sisterhood) do nothing to make Graham feel any differently.
I should mention something about Graham's background, though recounting the
whole story gives away too much of the plot. His wife (Patricia Kalember)
died six months prior to Signs' first scene in an incident that made Graham
shelve both his collar and belief in God. He's also become incredibly
protective of his children, asthmatic 10-year-old Morgan (Rory Culkin, You
Can Count On Me) and five-year-old Bo (Abigail Breslin), who can't see dead
people but can definitely see something that everyone else can't.
That "something" is another touchy subject when it comes to revealing any of
Signs' secrets. Though parts of the film are extremely reminiscent of the
way extra-terrestrials were handled in Close Encounters of the Third Kind
(read: believable and scary), it is in no way straight science fiction that
only Trekkies will appreciate. That said, the film's pace crawls along
pretty leisurely, often making it seem like a Robert Zemeckis version of
Independence Day.
There are some things that don't work, like Shyamalan casting himself in the
biggest non-Hess-family role (he had tiny Hitchcockish cameos in his other
films), and the last reel's painfully unnecessary explanation of the
foreshadowing of the first 90 minutes, which is already quite heavy-handed.
The ending seemed like a hodgepodge of Night of the Living Dead, Panic Room
and The Natural all rolled into one, which, only upon reflection, is
bothersome (but while it was happening, my hands were covering my eyes).
Gibson's performance is his best in at least five years (but that's not
saying much, considering the dreck he's made over that period) and the kids
are every bit as good as Haley Joel Osment was in Sense (Shyamalan's knack
for directing children earned him a shot at helming the third Harry Potter
installment, which he turned down). The real star here, however, is
Shyamalan, who not only wrote a fairly original script (steeped in ideas
borrowed from a wide variety of his favorite films) but once again directs
his ass off. Establishing mood via slow camera movement and a lack of music,
Shyamalan can make even the most benign setting seem instantly creepy. And
he's very good at using comedy to alleviate the tension he creates as well.
1:50 - PG-13 for some frightening moments
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Bob Bloom
Rory Culkin, Abigail Breslin, Cherry Jones, M. Night Shyamalan and
Patricia Kalember. Music by James Newton Howard. Director of Photography
Tak Fujimoto, A.S.C., Written and directed by M. Night Shyamalan. Rated
PG-13. Running time: Approx. 2 hours
Like he did with the ghost story in Sixth Sense, and with the superhero
genre in Unbreakable, M. Night Shyamalan now focuses his singular
perspective onto the science fiction format in Signs.
Like his two previous outings, Signs uses his main theme merely as a
launching pad for discourses on such philosophical tenets as faith,
coincidence and fate and profound queries such as whether everything in
life has a meaning or purpose or whether life is merely a collection of
random events.
Despite the global implications of Shyamalan’s excursion into science
fiction, his story remains intimate, focusing on a farm family in Buck
County, Pa.
Graham Hess (Mel Gibson) is a corn farmer and a former minister who
renounced God after tragedy visited his family.
From the opening credits, dominated by an intriguing score by James
Newton Howard, Signs draws you in, holding you in expectation as
Shyamalan peels his story as leisurely as if he were paring an apple.
And at the film’s very core is his premise that each action or reaction
is ultimately of consequence, despite its seeming triviality at the
moment, be it an old baseball bat or a little girl’s habit of cluttering
the house with half-filled glasses of water.
Shyamalan appears to be striving to say something profound, but his
message is as conflicted as a classical painting hand-stitched to a
tacky, velvet canvas.
The fun of a Shyamalan film lies in watching it unfold. The
writer-director gives you less than you want, and only enough to keep
you enticed. His films are like a carrot on a string and the audience is
the horse lured into motion. He keeps you on the edge of your seat,
always in a state of expectation.
And this process also works in Signs — up to a point. We are teased
throughout, primed for a big buildup, but finally underwhelmed by a
B-movie finale that feels out of kilter with all that came before.
At times, Signs plays like a hybrid of Night of the Living Dead and War
of the Worlds, but lacking the visceral impact of either. Such
pyrotechnics are not Shyamalan’s style. The entire science fiction
aspect is akin to the red herring in a murder mystery, diverting the
audience from the true center of focus.
Signs’ payoff disappoints because it is so far afield.
The performances, too, vary. Gibson acts like he’s performing in a
straitjacket, his natural exuberance abated. He looks pained, which fits
his character's makeup. It is one of his most controlled outings.
As his younger brother, Merrill, Joaquin Phoenix is unfocused and
portrayed as something of a screw up. He lives on the farm with Graham
and Graham’s two children, and was a one-time local baseball standout.
We know little else about him.
The performers who come off best are the two youngsters, Rory Culkin as
the asthmatic Morgan and Abigail Breslin as the precocious Bo. Solid
supporting turns are offered by Cherry Jones as a local sympathetic
sheriff’s deputy and Shyamalan himself as a veterinarian whose actions
greatly impacted the lives of the Hess family.
Flashes of levity run through Signs, especially from young Breslin,
which compensates for some of the film’s more overwrought moments.
In the end, though, Signs leaves you a bit disappointed because the
payoff you anticipated falls short of the mark. Still, even a flawed
Shyamalan is a better and more interesting exercise than the vast
majority of features inundating movie screens.
Bob Bloom is the film critic at the Journal and Courier in Lafayette,
IN. He can be reached by e-mail at blo...@yahoo.com or at
bobb...@iquest.net. Other reviews by Bloom can be found at
www.jconline.com by clicking on golafayette.
Bloom's reviews also appear on the Web at the Internet Movie Database:
http://www.imdb.com/M/reviews_by?Bob+Bloom
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Steve Rhodes
A film review by Steve Rhodes
Copyright 1995 Steve Rhodes
RATING (0 TO ****): ***
In SIGNS, Mel Gibson plays an ex-priest who gets in touch again with his
spirituality through something akin to a WAR OF THE WORLDS encounter. It's an
intense and intelligent horror picture by writer/director M. Night Shyamalan
(THE SIXTH SENSE and UNBREAKABLE). If you have trouble sleeping later, don't
say that I didn't warn you. It certainly affected my teenage son, who,
nevertheless, really liked the film.
The story is set in the corn fields of Bucks County, Pennsylvania, where Graham
Hess (Gibson) lives with his two young kids, Morgan and Bo (Rory Culkin and
Abigail Breslin). Since his wife died six months ago, Graham has given up on
religion. Merrill (Joaquin Phoenix, GLADIATOR), his younger brother, has been
staying with them in their remote farmhouse.
Graham is a strong disbeliever. "I'm not wasting one more minute of my life on
prayer," he proclaims at a time when he most needs help. Merrill is an ex too,
an ex-ballplayer. After setting records in the minor leagues, including five
for home runs and some for strike outs, he has taken to making a living at the
local gas station.
As the movie starts, the kids have gotten lost in the cornfields, where they
discover a large sign made by someone or something. Although Merrill tries to
convince them that the signs were made by a bunch of nerds in some sort of scam,
his explanation becomes harder to believe when similar signs are found to have
been made simultaneously in fields around the world. Meanwhile, the animals are
going crazy as if they are attacking some unseen predators.
The movie too often falls back on old tricks. When it is obvious that something
is out there, Graham, nevertheless, ventures into the field one dark night,
armed only with a flashlight. As the audience whispers to themselves, "Don't go
there!" Graham goes deeper and deeper into the abyss. Think he'll drop the
flashlight? Of course. We've seen this scene a thousand times before, but
Gibson does a fine job of trying, without much luck, to make it feel fresh.
After answering a simple, "Yes," to whether this could be the end of the world,
Graham makes the key observation of the story. "Is it possible that there are
no coincidences?" he asks Merrill rhetorically. And it is no coincidence that a
picture by Shyamalan will produce the same reaction on the audience that these
paranormal events produce on Morgan. An asthmatic, Morgan finds himself
frequently having trouble breathing. Bring your inhaler.
SIGNS runs 1:46. It is rated PG-13 for "some frightening moments" and would be
acceptable for teenagers.
My son Jeffrey, age 13, gave it *** 1/2. He thought that it was really
well-written and thought through. He found it both freaky and realistic.
Although he loved it, he said that he never wanted to see it again.
The film opens nationwide in the United States on Friday, August 2, 2002. In
the Silicon Valley, it will be showing at the AMC and the Century theaters.
Web: http://www.InternetReviews.com
Email: Steve....@InternetReviews.com
***********************************************************************
Want free reviews and weekly movie and video recommendations via Email?
Just send me a letter with the word "subscribe" in the subject line.
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Edward Johnson-Ott
Mel Gibson, Joaquin Phoenix, Cherry Jones, Rory Culkin, Abigail Breslin,
Patricia Kalember. Music by James Newton Howard. Written and directed by
M. Night Shyamalan. 107 minutes. Rated PG-13.
Review by Ed Johnson-Ott, NUVO Newsweekly http://www.nuvo.net
E-mail: ejohn...@prodigy.net Archive reviews at
http://reviews.imdb.com/ReviewsBy?Edward+Johnson-Ott
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with the word "subscribe" in the subject line.
The publicity campaign for "Signs" has remained wonderfully vague. We
see crop circles on the farm of an American family. We learn that
something very scary is happening. And that's about it. In that spirit,
I'll do my best to reveal as little as possible here, but be forewarned
that some thematic beans will be spilled.
Those of you hoping that writer/director/actor M. Night Shyamalan has
crafted a worthy successor to "The Sixth Sense" should know right up
front that he hasn't. "Signs" is more reminiscent of his second film,
"Unbreakable," with well-defined characters, a slow, meticulous,
suspenseful build-up and a pay-off that will leave most viewers crying,
"That's it?!?!" Most of the film is quite entertaining, mixing scares
with welcome bits of humor. But the ending fizzles.
There are two storylines: one involving an isolated family facing a
threat from outside, and the other about a man's loss of faith. In both
cases, the presentation is gripping and the resolution unsatisfying.
Set in rural Pennsylvania, the tale centers on Graham Hess (Mel Gibson),
a minister who lost his faith and hung up his collar following the
tragic death of his wife (Patricia Kalember). Graham now sticks close to
the family farm, raising his children Morgan (Rory Culkin) and Bo
(Abigail Breslin) with the help of his younger brother Merrill (Joaquin
Phoenix).
Shyamalan opens the film stylishly, with a shot of the backyard seen
through a window in the house. At first glance, the image seems clear,
but it is actually distorted by warps in the clear pane of glass. For
the still grieving family, their already warped life becomes even more
distorted with the discovery of crop circles pressed in the cornfield.
"Are you in my dream, too?" asks Abigail, a gorgeous little girl known
for leaving barely touched glasses of water all over the house after
deciding the liquid is "contaminated." Gazing at the stalks flattened
into geometric shapes, the asthmatic young Morgan says, "I think God did
it."
Graham meets up with a local police officer/old family friend (Cherry
Jones) and theorizes that the circles are the work of a trio of local
troublemakers, but the circles look too perfect, and how did the
cornstalks get bent without any being broken? Tension mounts that night
when an intruder is heard scurrying outside the house. The next day,
Abigail announces that something is wrong with the TV, because "the same
thing is on all the channels." Seconds later, the family stands
transfixed in front of the tube, watching a "Breaking News" report about
an epidemic of crop circles all around the world.
As the story builds, Shyamalan keeps the focus squarely on the family.
This is going to be a small film, by God, no matter what he has to do to
keep it that way. And that's where things go awry. My logic-meter
started buzzing during the first TV scene and went off at each
subsequent one. Shyamalan, a stickler for detail, gets TV all wrong,
presenting news reports that might have passed muster 50 years ago, but
not now.
Consider. Abigail is watching TV when suddenly "the same thing is on all
the channels." And what is that "same thing"? A report on the crop
circles, with an image of one in India. So we are expected to believe
that every single TV station – network, independent and cable – chose
the same moment to cut to a single source for a report NOT of an
emergency, but of a growing curiosity. That is simply not how modern
reporting works.
This may sound like nit picking, but it speaks to a crucial problem with
Shyamalan's storytelling methods. In "The Sixth Sense," the world
proceeded normally while we saw the point of view of the two key
characters. That was fine and fair. But in "Signs," the Hess family
members (and we) are fed only tiny fragments of outside information. In
reality, as the situation became more extreme, NBC, ABC, CBS, CNN and
several other news networks would be in fierce competition to cover the
situation, with an unrelenting stream of professional and amateur
footage, analysis and interviews. In "Signs," the world adapts to fit
the needs of the Hess family saga.
Shyamalan is determined to keep his story small. He has a clear place he
wants it to go and he cuts off anything that might interfere with him
reaching that end. As a result, our sense of being manipulated grows
almost as fast as the suspense, and the payoff, when it finally arrives,
feels both contrived and insufficient.
The other plotline, the one following Graham's loss of faith, is also
handled in a troubling fashion. I will not reveal any specifics about
the resolution of the film, but as the closing credits rolled, I found
myself thinking back many years, to when our minister told us that the
essence of faith involves implicit trust without proof. If there was
solid earthly proof of God, he told us, it would negate the spiritual
investment of the faithful.
Consider this as you leave the theater.
Even though the resolutions of both stories fail, Shyamalan still gives
viewers a hell of a ride. "Signs" ratchets the suspense ever higher,
with a number of dandy, if sometimes illogical, scares. And the dashes
of humor offer relief without lessening the tension. I particularly
enjoyed the moment when Graham, facing a grim future, decides that
comfort food for everyone in the family is in order. "I'm going to make
a bacon cheeseburger," he announces while wearing a fatalistic grin,
"With extra bacon!"
As evidenced by "Ransom" and "The Patriot," few are better than Mel
Gibson at playing ferociously protective fathers (not surprising for a
man with seven kids) and he does fine work here. Joaquin Phoenix is
effective as younger brother Merrill, although the lack of even the
faintest resemblance between him and his "brother" is almost funny. The
children are perfectly cast, which should come as no surprise to anyone
who saw "The Sixth Sense." Abigail Breslin is disarming as Bo, although
her monotone
"there's-a-monster-outside-my-room-can-I-have-a-drink-of-water" line
sounds less like something a child would really say and more like
something whipped up for a movie trailer. And Rory Culkin, yet another
of Macaulay's siblings (surely there must be a lab somewhere that does
nothing but clone more Culkin kids), gives a strong performance as the
physically frail but emotionally sturdy Morgan.
In supporting roles, M. Night Shyamalan proves credible as Ray, a
repentant neighbor, and Ted Sutton uses his few seconds on screen to
leave a lasting impression as the intense, staccato-voiced Sgt.
Cunningham.
Wearing his director's hat, Shyamalan takes a vintage "Twilight Zone"
approach, with lots of skewed camerawork, while James Newton Howard
provides a dissonant soundtrack that punches at the right times.
Despite the manipulation and contrivances, despite the lame resolutions
of the dual storylines, I still enjoyed the bulk of "Signs." I guess it
is possible to draw pleasure from suspense even without a satisfying
release. M. Night Shyamalan has a real gift for making deliberately
paced, thoroughly engrossing movies. If only he can become more
consistent in how to wrap them up.
© 2002 Ed Johnson-Ott
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Karina Montgomery
Matinee
I am pleased to report that the incredibly effective music in the
preview is in the film, a rarity. Also some of the takes used in the
preview aren't as good as the ones in the film; saving the effective
stuff for the Real Show. My summary: Not as good as the Sixth Sense
but much better than Unbreakable. The mood, the slow, languid,
imply-don't-show and show-don't-tell pacing of Sixth Sense is there,
along with a deliciously creepy score by James Newton Howard (who
also did M. Night Shyamalan's other films). Master lensman Tak
Fujimoto (who gave Silence of the Lambs its understated creepy feel)
paints Shyamalan's story for him beautifully.
The film makes more of an effort to terrify, using good old-fashioned
old-school implication of visuals, sound, rustling corn stalks, and
tension. It's pretty effective; without having seen much of anything
I was pretty well scared out of my wits, and loving it. I did not
find the Sixth Sense scary as many had, but this one I did. My
companion muttered that he had to go to the bathroom and I hissed "no
freakin' way!" partially because he couldn't leave NOW, it was too
tense, too unmissable - but partially so I wouldn't be alone in the
packed theatre. Cornfields are scary even in the best of times, even
more so with the aid of great sound design.
There is, thankfully, a whole other level to this movie beyond the
one presented in the preview, and it is on that level that Mel is an
excellent casting choice. As a man traditionally cast as sexy
maverick or morally flexible hero, Gibson is also deeply believable
as a thoughtful, concerned man and parent. It is also interesting to
watch his physical performance - he is high strung and physically
awkward with his body, as if he's never used it before. His
Data-like confusion at regular life things might be a bit much for a
father of two, but it works for the character. I am loathe to reveal
much about a film, so if you want to go in totally blind as I did,
know that I liked it, but I didn't love it, and stop reading now.
Ok, wait, also you should know that Abigail Breslin, playing Bo, the
daughter, is adorably great. Now stop reading.
Basically, the film is only secondarily about the advent of an alien
encounter. That whole framework is only a structure for the smaller,
more personal story going on in the household of ex-priest Mel
Gibson, the aforementioned Abigail, Rory Culkin (doing his clan
proud), and Joaquin Phoenix. Understandably, were aliens to actually
visit our planet, our whole notion of the universe and our place in
it would irretrievably change. The notion of an earthbound divine
creator who puts Man before all other creatures in Creation would
need a little revision as well. Then there is the former priest
whose wife was senselessly killed, along with any faith he had in a
Greater Plan.
Oddly enough, the crop signs and other creepiness and scariness in
this film serve as second string to Mel's rejection of faith and his
emotional isolation. The thematic elements of fate and faith even
overshadow and interrupt the film: In a climactic scene of high
drama and tension, we flash back to something which we the audience
might think is unrelated but what underpins everything in Mel's
emotional landscape. These events are his own navigational crop
signs, perhaps; and then the scene resumes and resolves. It's
interesting (if a little egotistical) and different.
I was a little disappointed that Shyamalan seems to have lost his
faith in our ability to analyze his films; in the Sixth Sense we are
not reminded of a previous scene's reference point by a quick cut to
refresh our memory, but in Signs we are, and that disappointed me.
But audience members filing out afterwards didn't notice even with
the assistance, so maybe Night knows Joe Audience better than I do.
It's cool.
--
~~~~~~~~~~~~~~~~~~~~~~~
These reviews (c) 2002 Karina Montgomery. Please feel free to forward
but just credit the reviewer in the text. Thanks.
rev...@cinerina.com
Check out previous reviews at:
http://www.cinerina.com
http://ofcs.rottentomatoes.com - the Online Film Critics Society
http://www.hsbr.net/reviews/karina/ - Hollywood Stock Exchange
Brokerage Resource
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