I love it. And in the spirit of all movies Shyamalan, I'll keep mum about the plot.
I loved the pace, the control, and the development of how the plot unfolded. It had a whodunnit feel of a mystery that is carefully revealed layer by layer. The ensemble cast and characters were fantastic, with each character possessing usefulness to the story and to peer characters, and their eccentricities make them a joy to watch. You have the Korean mother and daughter, the Vietnam Vet, a father and son, a new neighbour, a group of cock-talkers, a guy who works out only his right side, and so on. Although most of them are one- dimensional, they are no less than endearing in their own way, like those in Cocoon or Batteries Not Included.
I love the superb acting by the main leads of Paul Giamatti, who's fast becoming one of my favourite character actors, and in here, provided his character Cleveland Heep with much emotional baggage, pain and that almost natural stammer when nervous, and Bryce Dallas Howard, her Lady in the Water, name Story, is so beautiful, yet so enchantingly vulnerable. Both anchor this movie well and brought about believable character development, or in the case of Story, that oracle air of wisdom, wit and fear of the unknown.
I love the special effects, done no less by Industrial Light and Magic. They're a pretty sight, even though some scenes were dark, literally and figuratively. Cinematography was done by Christopher Doyle, so those in Asia should already well be aware what he's capable of.
There's a major departure from his previous films, which I think is probably good to keep things refreshing for the moment. Some points and scenes in the movie are so deceptively simple that you will almost guess the outcome before the next scene transition. The movie ended the way it should, instead of relying on the "next big gimmick". And probably bad news of those who loathe directors cameo-ing in the own movies, well, this time round, Shyamalan has quite a significant role for himself.
And I know why many critics out there didn't give this movie the rating it deserves. They are surprised at Shyamalan's audacity in taking a huge swipe at critics in general, since they have been highly critical of almost all his past works. It's an obvious no-holds-barred jibe at their anal characters of being high and mighty and of imposing their thoughts and opinions on others, when little do they know that their opinions mean squat most of the time. There's another cheeky reference too at romances in the rain, which I thought perhaps cinematographer Doyle would have found it amusing given his work on Wong Kar-wai's In the Mood for Love and 2046 (citing these 2 as I've recently watched the former).
But those aside, thank you M Night, for sharing with us a wonderful bedtime story, which I think will be repeated at bedtime to many children around the world. It's beautiful, simple, easy to grasp, and allows for good shuteye fantasy.
I loved the pace, the control, and the development of how the plot unfolded. It had a whodunnit feel of a mystery that is carefully revealed layer by layer. The ensemble cast and characters were fantastic, with each character possessing usefulness to the story and to peer characters, and their eccentricities make them a joy to watch. You have the Korean mother and daughter, the Vietnam Vet, a father and son, a new neighbour, a group of cock-talkers, a guy who works out only his right side, and so on. Although most of them are one- dimensional, they are no less than endearing in their own way, like those in Cocoon or Batteries Not Included.
I love the superb acting by the main leads of Paul Giamatti, who's fast becoming one of my favourite character actors, and in here, provided his character Cleveland Heep with much emotional baggage, pain and that almost natural stammer when nervous, and Bryce Dallas Howard, her Lady in the Water, name Story, is so beautiful, yet so enchantingly vulnerable. Both anchor this movie well and brought about believable character development, or in the case of Story, that oracle air of wisdom, wit and fear of the unknown.
I love the special effects, done no less by Industrial Light and Magic. They're a pretty sight, even though some scenes were dark, literally and figuratively. Cinematography was done by Christopher Doyle, so those in Asia should already well be aware what he's capable of.
There's a major departure from his previous films, which I think is probably good to keep things refreshing for the moment. Some points and scenes in the movie are so deceptively simple that you will almost guess the outcome before the next scene transition. The movie ended the way it should, instead of relying on the "next big gimmick". And probably bad news of those who loathe directors cameo-ing in the own movies, well, this time round, Shyamalan has quite a significant role for himself.
And I know why many critics out there didn't give this movie the rating it deserves. They are surprised at Shyamalan's audacity in taking a huge swipe at critics in general, since they have been highly critical of almost all his past works. It's an obvious no-holds-barred jibe at their anal characters of being high and mighty and of imposing their thoughts and opinions on others, when little do they know that their opinions mean squat most of the time. There's another cheeky reference too at romances in the rain, which I thought perhaps cinematographer Doyle would have found it amusing given his work on Wong Kar-wai's In the Mood for Love and 2046 (citing these 2 as I've recently watched the former).
But those aside, thank you M Night, for sharing with us a wonderful bedtime story, which I think will be repeated at bedtime to many children around the world. It's beautiful, simple, easy to grasp, and allows for good shuteye fantasy.