As a film enthusiast who has spent countless hours immersed in the world of cinema, I find myself reminiscing about the golden age of M. Night Shyamalan‘s work. The films he created during this period were not just movies; they were experiences that left an indelible mark on the minds of viewers.
As a long-time reader and writer of articles, I must say that this particular piece caught my attention because it was originally published on January 18, 2019, which happens to be around the same time I started following the topic in question. The article has since been updated with subsequent releases, including the recent one titled “Trap.” Given my background and interest, I find it fascinating to see how this subject matter has evolved over time. It’s always intriguing to witness the progression of information and ideas in a field that I care about. In my opinion, staying informed and up-to-date on relevant topics is essential for personal growth and success, and this article serves as an excellent resource for those looking to do just that.
Absolutely, M. Night Shyamalan continues to persist in his aspirations as a multidimensional filmmaker, despite the lingering shadow of the “Next Spielberg” label from a 2002 Newsweek cover. Critics may have scoffed at his ambition to infuse depth and meaning into mainstream movies, but Shyamalan has consistently delved into profound themes such as mortality, childhood, and the unknown. His work often challenges conventional genres like ghost stories, superhero films, and science fiction thrillers, while never shying away from surprising twists. And let’s not forget, a significant part of his charm lies in his confidence and talent for captivating audiences with compelling narratives.
Certainly, Shyamalan’s distinctive storytelling techniques started to feel like a reliance, leading to decreasing impact and the impression that he was cornering himself narratively. Moreover, one might suggest he reconsider acting in his own films. Indeed, he is not the successor to Spielberg, and it’s likely he will be remembered as a filmmaker who reached his pinnacle with his initial hits like “The Sixth Sense,” “Unbreakable,” and “Signs.” His recent work, however, such as “Split” in 2017 and “Glass” in 2019, have revitalized his commercial success. So, where does his new film, “Trap,” rank among his best? Rest assured, our ranking won’t end with a shocking twist.
16.
The Happening (2008)
For a movie like “The Happening” to materialize, several stars need to align: A director who has recently enjoyed success and thus has the creative freedom to make such an unconventional film, but is also feeling the pressure after a string of flops. This director must be so committed to his vision that he’s willing to make a tree the menacing antagonist. The movie should have been produced quickly, leaving behind large, unfilled plot gaps. Lastly, you need an actor like Mark Wahlberg, who seems incredibly miscast for the role, yet managed to survive this film and continue his career despite Andy Samberg’s brilliant parody of his performance. “The Happening” is utterly illogical and devoid of suspense, making it one of the most peculiar big-budget thrillers from the last quarter century. It might also be the worst.
15.
After Earth (2013)
Reflecting back, it’s fascinating how the 2013 film After Earth seemingly predicted the surge of “terror films centered around the senses” that emerged in 2018 with movies like A Quiet Place and Bird Box. As a movie critic, I saw After Earth ahead of its time. Set a thousand years into the future when mankind is being pursued by terrifying extraterrestrials that track them through their fear, it presents an intriguing premise. The story unfolds when a valiant interstellar soldier (Will Smith) and his young son Kitai (Jaden Smith) find themselves stranded on a now-inhospitable Earth.
14.
The Lady in the Water (2006)
In this period, the U.S.S. Shyamalan began to falter and take on water, much like a director in turmoil might do. This is typically when filmmakers like Shyamalan start incorporating critics as antagonists within their movies. (A common Roland Emmerich tactic!) But his actions didn’t stop there; he even cast himself as a genius writer whose work could transform the world, if only people would give it a chance. The movie titled “The Lady in the Water” features Bryce Dallas Howard as a water nymph, Paul Giamatti as an apartment manager, and something called a “Scrunt.” Unfortunately, this project was a complete disaster. It’s worth noting that Michael Bamberger’s book, “The Man Who Heard Voices,” portrayed Shyamalan as a visionary whose art would save the world. However, back then it was seen as a comically exaggerated tribute; Janet Maslin called it an “unintentionally riotous puff book.” Reading it now is nothing short of breathtaking.
13.
The Last Airbender (2010)
“Moving Away from Personal Projects: Shyamalan’s Transition.” After receiving backlash from his original horror-thrillers, the filmmaker switched focus to adapting existing works, specifically the animated series “Avatar: The Last Airbender.” This film is his costliest production yet, with extravagant CGI taking up much of the budget. In this adaptation, a young character named Aang (portrayed by Noah Ringer) learns he holds the power to vanquish evil, represented comically by a character played by Aasif Mandvi. Shyamalan appeared to struggle with creating a family-friendly film, and the project seemed like an obvious attempt to produce a hit, preserving his status in Hollywood. While “The Last Airbender” is superior to some of his previous, more personal endeavors, it may be one of his least substantial works.
12.
Praying With Anger (1992)
M. Night Shyamalan’s lesser-known first film, which can’t be found on streaming platforms or DVDs and was discovered on YouTube, differs significantly from his later works: it’s a deeply personal, almost autobiographical drama about an Indian American college student (portrayed by Shyamalan himself) who participates in a student exchange program, immerses himself in India, encounters culture shock, and discovers more about himself and his roots. While watching a VCR recording on YouTube may not be the ideal way for a filmmaker to showcase their work, the movie is quite straightforward and somewhat clumsy. The emotional revelations intended to be moving and heartfelt come across as trite and overused, and Shyamalan’s inexperienced acting doesn’t help. The only aspect it shares with his later films is its genuine sincerity, though there are no moments meant to scare us like a haunting tree appearing.
11.
Glass (2019)
As a film enthusiast, I’ve been captivated by the resurgence of M. Night Shyamalan, particularly with his movies like “The Visit” and “Split.” It was as if he miraculously breathed life back into his career, much like Lazarus. However, my excitement should have been tempered after watching “Glass,” the final installment of what’s being called the Eastrail 177 Trilogy.
10.
Old (2021)
In simpler terms, the reception to the film “Old” is significantly different than that of “The Happening” in the past. M. Night Shyamalan, no longer labeled as a genius or a pretender, appears to have more freedom to create a film that blends elements of comedy and horror, leaving viewers questioning its intent. The movie, although containing some low-quality aspects and a predictable “Twilight Zone” plotline, also explores deep themes about death and loss. It’s a film that benefits from being watched in a theater due to the shared experience of laughter at the intense moments and absurd plot twists. While not a masterpiece, it’s not aiming to be Important Cinema either. Instead, it feels like Shyamalan acknowledging his creative boundaries, which could be seen as reassuring or slightly disappointing depending on one’s view of his past potential.
9.
The Visit (2015)
Following four movies that were heavily criticized, M. Night Shyamalan gained positive reviews again after a decade with the movie “The Visit“, a lower-budget “found footage” thriller. However, it’s a found-footage film where characters frequently mention famous directors, which seems like Shyamalan subtly hinting that he’s superior to this genre. The story follows two children who arrive at their grandparents’ house just as chaos erupts. Although the movie feels distinct from Shyamalan’s lesser works, it may not be considered better. Instead, it could be seen as a refresher for him, paving the way for his return to form with “Split” a year later.
8.
Trap (2024)
As M. Night Shyamalan ventures deeper into his more relaxed, seasoned phase, a striking element of his professional journey persists: the singularity of his films. His movies, especially those he pens himself, often seem pristine and unspoiled, as if they sprang forth from a hastily scribbled note on a napkin; it’s intriguing that you never know where they’re headed, but that’s largely because there seems to be no one available to suggest a rewrite or two. “Trap” is a quintessential Shyamalan production, and it embodies him completely: A captivating opening (a father is unveiled as a serial killer who gets cornered at a Taylor Swift-like concert while the authorities attempt to apprehend him) that swiftly deteriorates into illogical plot turns. Unfortunately, much of this movie unfolds outside the concert venue, which doesn’t aid the narrative clarity; broadening the scope only serves to make the entire structure crumble. Despite its allures – Josh Hartnett delivers a commendable performance, and Shyamalan continues to excel at cinematography and composition as he struggles with screenwriting – ultimately, this film makes little sense. If only Shyamalan had someone to guide him through the process.
7.
Wide Awake (1998)
If you wanted to guess which filmmaker would achieve a major success the following year, it might have been challenging to pinpoint the writer-director behind this heartfelt coming-of-age drama about a 9-year-old boy (Joseph Cross, now mature enough to portray a murder suspect on Mindhunter). The movie is an intriguing blend, carrying a childlike demeanor and perspective while simultaneously being thoughtful and deliberate – a potentially risky combination. However, this project represents progress for Shyamalan, as he continued to refine his skill in manipulating audiences’ emotions. It’s also worth mentioning that Rosie O’Donnell delivers an impressive performance, particularly in her role as a nun!
6.
The Village (2004)
During his prime, M. Night Shyamalan was almost unparalleled, especially considering his age, but his streak of excellence seemed to falter with this less-than-impressive production, which hinted at the gradual decline of his storytelling prowess and the growing strain on his signature plot twists. Among Shyamalan’s criticized films, The Village stands out as a relatively strong entry, effectively creating tension and, in an awkward yet somewhat clever manner, pulling off a surprising twist – albeit one that is highly implausible within the context of his works. Despite its questionable execution, the film boasted an impressive cast, including Joaquin Phoenix, Sigourney Weaver, Brendan Gleeson, William Hurt, Cherry Jones, Judy Greer, and even Jesse Eisenberg. At the height of his career, Shyamalan was arguably one of the most influential filmmakers globally, but that position didn’t last long. Noteworthy is that the movie was still a commercial success.
5.
Knock at the Cabin (2023)
Currently in his 50s and married for over three decades, Shyamalan has been a father for nearly half of that time, with his family frequently serving as the central theme in his films. However, a unique emotional undertone runs through “Knock at the Cabin,” where a content couple (Jonathan Groff, Ben Aldridge) and their adopted daughter (Kristen Cui) embark on a peaceful retreat into the woods, only to encounter Dave Bautista’s tranquil character, Leonard, who sternly informs them that they must sacrifice one family member to avert an apocalypse. This film adaptation of the Paul G. Tremblay novel shares similarities with Hitchcock’s works, such as the confined drama reminiscent of “Rope” and the foreboding atmosphere similar to “The Birds.” (And like Hitchcock, Shyamalan has a penchant for disquieting overhead shots.) The movie is well-acted, maintains an acceptable level of tension, and seems inspired by both the pandemic era and the late-night concerns of a father who frets about safeguarding his children in a perilous world. While it would be misleading to label this subtle thriller as personal, it’s evident that the filmmaker’s own apprehensions are subtly reflected on screen.
4.
Split (2017)
Collaborating Shyamalan with Blumhouse proved to be an inspired decision, as he seemed to thrive under the guidance of another perspective for the past decade. The resulting “horror” film has been his finest work in approximately 15 years, showcasing a remarkable, unleashed performance from James McAvoy and a charming, robust female lead in Anya Taylor-Joy. While there are some lingering issues such as an excessively complex backstory and occasionally excessive dialogue, the overall production feels more polished and focused. Admittedly, Shyamalan couldn’t resist adding a delightful yet slightly distracting coda to the film, which may prove profitable in the future but detracts slightly from the main narrative we had grown attached to. Nevertheless, it appears that Shyamalan might be rediscovering his creative stride with this project.
3.
Signs (2002)
The last of the director’s three-picture run of smart, mainstream thrillers, Signs is as absorbing as it is messy. But the film’s shortcomings are tied to its strengths — namely, that Shyamalan wanted to deliver big, emotionally nuanced, psychologically probing blockbusters. So we have the tale of a Pennsylvania family led by Mel Gibson’s former pastor, Graham, who discover that there might be extraterrestrials in their midst. Signs wants to be an alien-invasion flick with a mournful post-9/11 tone — and it also wants to be a story of family and a look at a man who’s turned his back on God but regains his faith. That’s too much, but Shyamalan was so fully confident in his storytelling style that he mostly pulls it off, eliciting a relatively subdued performance from Gibson and continuing to demonstrate his ability to work well with young actors (Rory Culkin and Abigail Breslin). Yes, the ending is still dumb — “Swing away, Merrill” — but as Hollywood has become a more franchise-centric business, we’ve grown nostalgic for the nervy weirdness of a Signs.
2.
Unbreakable (2000)
The film Unbreakable begins by sharing some facts about comic book collecting, such as an average collector owning 3,312 comics and spending a full year reading them. M. Night Shyamalan, following the success of his groundbreaking film The Sixth Sense, wanted to create a movie that would astonish viewers with those numbers, as well as those who thought they had more than 3,312 comics! At only 19 years old, Unbreakable seems almost ancient compared to the rapid pace of the comic book industry; Marvel films didn’t take over the world until 2008 with the release of the first Iron Man. This movie is an origin story that was rare at the time, featuring an ordinary man named David (played by Bruce Willis) who miraculously survives a train crash unscathed and discovers he may be a superhero. His partner is Elijah (Samuel L. Jackson), a fragile-boned man who has spent his life immersed in comic books, eagerly awaiting a formidable adversary. At the time of its release, Unbreakable was a truly groundbreaking film that took comic book movies seriously while also acknowledging the potential dangers of devoting one’s life to superheroes. In the 20 years since its release, the superhero movie genre has dominated the box office, and we may have grown numb to Unbreakable‘s cautionary message. However, rewatching this introspective film now will still leave a lasting impression on you.
1.
The Sixth Sense (1999)
In a unique and thought-provoking manner, the film “The Sixth Sense” offers multiple layers of appeal. After uncovering its surprising twist, viewers can additionally appreciate it as an emotionally poignant tale of self-delusion. Malcolm, portrayed brilliantly by Bruce Willis, meets an untimely end at the hands of a former patient, yet remains oblivious to his own demise due to his intense immersion in his work. This allows him to continue interacting with Cole, a troubled young boy (Haley Joel Osment) who sees deceased individuals.
The movie is exceptionally impactful because it portrays Malcolm as a symbol of anyone overworked, neglecting their loved ones. Even when he tragically loses his life, he remains oblivious to the fact that he’s already lost his wife (Olivia Williams) and other precious relationships along the way. In essence, death catches up with him when he can no longer evade it, symbolizing a tale of a man unaware that he is the central character in his own ghost story.
Grierson & Leitch frequently discuss films and run a film-focused podcast. To keep up with their latest insights, consider following them on Twitter or checking out their website.
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2024-08-05 20:56