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.
M. Night Shyamalan
Bryce Dallas Howard,
A veteran cop, Murtaugh, is partnered with a young suicidal cop, Riggs. Both having one thing in common; hating working in pairs. Now they must learn to work with one another to stop a gang of drug smugglers.
Preacher Graham Hess, played by Mel Gibson, has lost his faith in God after his wife dies in a brutal car accident. He along with his son and daughter and his brother Merrill moves into a farmhouse. Crop circles begin to appear in their corn fields which Graham dismisses as mischief by miscreants. After hearing strange noises and watching news coverage on crop circles appearing all over the world, the family begins to suspect of extraterrestrial activities. Now they must stick together and believe, as a family to survive the ordeal and find a way to escape from the clutches of the alien invaders. Written by
The scene in which Graham has his last conversation with his wife was scheduled for 12 September 2001, and was filmed after a cast and crew candlelight vigil. See more »
When Graham is at Reddy's house, Reddy speeds away in his truck the camera is reflected in the window. See more »
People break down into two groups. When they experience something lucky, group number one sees it as more than luck, more than coincidence. They see it as a sign, evidence, that there is someone up there, watching out for them. Group number two sees it as just pure luck. Just a happy turn of chance. I'm sure the people in group number two are looking at those fourteen lights in a very suspicious way. For them, the situation is a fifty-fifty. Could be bad, could be good. But deep down, they feel...
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The end credits are black text that rolls over a black screen with a illuminated blue circle in the middle, instead of the traditional white text on a flat black background. See more »
Riveting and clever scarefest reinvents the modern horror film
I have been a horror film fan for 30 years. While I remember a few films actually scaring me as a kid (Jaws, Psycho), I have failed to encounter many in my adult life. I like to be scared, but Hollywood has seen fit to retread every tired formulaic convention in just about everything it throws at the local multiplex. Even the independent filmmakers, free of the "system", seem to forget what FEAR is. Mostly I sit solemnly staring in disbelief at the screen, waiting and hoping to get those goosebumps. Then, finally, we were given Signs. Most will say, including the director, that this is not a horror film; I genuinely disagree. If this is not a horror flick, then it is time for this film to start a branch of its own and begin a new genre. I admired every little aspect of this picture, from the use of everyday objects: baby monitor, a blank television screen and a half empty glass of water, to convey and act as a vehicle to extract fear from the ordinary. Most of all, Shyamalan is an expert craftsman and knows how to get the most out of space, actors and sound. It is the lingering shot on a basement staircase when you are desperately hoping he moves his camera to show us more, or the screeching sound in the next room whose source he won't reveal . This director knows just how long to hold the shot, to increase the tension and build the suspense, long enough for our mind to begin forming pictures. And those pictures can be the most frightening of all. Stay the course Shyamalan.
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