When his secret bride is executed for assaulting an English soldier who tried to rape her, William Wallace begins a revolt and leads Scottish warriors against the cruel English tyrant who rules Scotland with an iron fist.
Malcom Crowe is a child psychologist who receives an award on the same night that he is visited by a very unhappy ex-patient. After this encounter, Crowe takes on the task of curing a young boy with the same ills as the ex-patient. This boy "sees dead people". Crowe spends a lot of time with the boy (Cole) much to the dismay of his wife. Cole's mom is at her wit's end with what to do about her son's increasing problems. Crowe is the boy's only hope. Written by
Jeff Mellinger <firstname.lastname@example.org>
During the traffic accident scene, Pennsylvania state vehicle inspection stickers (which are required in lower left corner of driver windshield) are visible on the cars in front of Cole's as the camera dollies towards his car. But his mother's Volvo has no stickers even though earlier in grocery store parking lot the same car did display PA plate. See more »
It's getting cold.
That is one fine frame; one fine frame that is. How much...
[he sits down with a grunt]
...does a fine frame like that cost, do you think?
I never told you, but you sound a little like Dr. Seuss when you're drunk.
See more »
The Spanish phrase "I don't want to die" that was played on the tape recorder in Malcolm's office is repeated after the credits. See more »
What makes this film so wonderful to watch is not simply the acting, or the terror it instills, or even the plot itself. It is the way in which the writer/director M. Night Shyamalan takes his vision from the page, and carefully crafts a tale that completely absorbs the viewer. As a result, we are treated to a wealth of emotion: fear, sadness, joy, confusion, and humor, each one a compliment to the other.
Haley Joel Osment delivers, plain and simple. By now, so much has been said about the young actor that any more would be repetition. Needless to say, his portrayal of Cole Sear is remarkable. His ability to communicate, through a simple look or gesture, the depths to which his character's soul has been thrust is what truly carries the film. He succeeds at this task beautifully, convincing us while never going over the top; indeed, by the time Cole utters his now-famous line, you not only believe him, you are chilled by the fact that Osment the actor may actually believe it himself.
Bruce Willis turns in a stellar performance, complimenting his young co-star while never overshadowing him. It is a tribute to his respect of the material in so much as he fine tunes his delivery to seem reserved, yet not too toned down.
The Sixth Sense is more than simply a wondrous two hours. It has, in effect, created a new genre of filmmaking... the film is neither drama, nor horror, nor action. Rather, it is a seamless blending of all three, a film that encompasses the best aspects of each genre, without being limited by the worst. Hollywood has taken notice of this, and one can only expect a series of poor imitations to follow. But at least they'll always have The Sixth Sense to guide the way.
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