The Village

m. night's "cameo" made me want to spew.

I didn't like it very much, although it may have something to do with the fact that I caught myself zoning out every 15 minutes. In retrospect, I think the film might actually be good, so I'm gonna give it another shot. I've read certain theories that the film is a metaphor for the U.S.'s current political situation (the elders use fear tactics to keep control over the village, and what not), which is kind of interesting. But yeah, I agree, that cameo was fuckin stupid. The dialogue was incredibly dull and uninteresting, too.

I really loved the relationship between Lucius and Ivy. That scene they have together on the porch, I thought, was romantic and beautfiul. I thought the the direction was gripping, the pacing and the use of long takes...

...hated hated fucking totally hated where the script went though.

I found it so far outside of any earth bound logic that the security guard would have kept the secret about the blind girl to his superior. It's even more insane that victims of different tragic events in our modern world would go so far as living a day to day eistence rooted in old timey-ness; going so far as even using an antiquated dialect.
Some of the most frustrating bad films are ones where some aspects work very strongly, making the failure of the whole a greater dissapointment than the cathartic fun of witnessing across the board ineptitude.

I sort of wish the film could have just been a period piece romantic horror, with out the awkward rug beneath our feet removal. M Night seemed intent on taking this thing off the rails though, perhaps the embarrassment of the reaction to this will convince him to direct a script that's not his own next time.

i'd read prior to seeing the village that it could be read as some sort of post-9/11 america allegory, so the whole time i watched it i kept trying to fit the pieces together, and it does make sense (william hurt as george bush figure, f'rinstance) and it's interesting on that front, i guess. but yeah, the script just totally nosedived once the whole "twist" was revealed. not that it was super-awesome to begin with...i mean, jesus, that dialogue...

Dreadful...... more thoughts here http://entertainmentcomplex.blognation.us/blog/_archives/2004/8/1/116155.html

Maybe it's because I've seen some of the most gawdawfully pointless movies of the summer like Cinderella Story and Garfield, but I ended up thinking that this and Stepford Wives weren't totally dull. Interesting failures, flawed masterpieces, whatever. They both seemed to be shooting for something that they couldn't quite grasp. I can handle that.

I wouldn't argue with you about Village and S. Wives in principal--I see what you're saying. Sort of disagree, but, certainly when compared to Garfield or some of those kinds of films that never could have been good in a billion years, yes I see your point. Certainly, the Village is a serious attempt. And M. Night S. is an incredibly thoughtful filmmaker. But I still didn't like the film mainly because the "surprsise" ending operates against the intention to make a scary film. The more you know, the less interesting it is. Exactly the opposite with the 6th Sense. The more you realize, the scarier, and ultimately, sadder the film is. Which is why you can see it more than once and still get somrething from it, other than the twist. I can't imagine seeing the Village twice.

I thought the S. Wives was similar. A smart movie, funny diaglogue I really wasn't expecting. But ultimately pulled its punches.

Cindarella Story--I'm a sucker. Of course, it was horrible. But it kept pointing out how could it could have been. I love Jennifer Coolidge. The story is ripe for updating. But, okay, yeah. Not smart enough.

Or in principle either!

Wow. I should spell check every post. sorry.

Yeah, I ended up more frustrated with S. Wives than anything, especially since I think it swong rather widely for the fences by introducing the gay guy and his log cabinesque boyfriend. Seriously, why introduce the topic of homosexuality and gated communities in the first place if you're not prepared to seriously delve into the politics of self-loathing and persistent power struggles within gay relationships? much less the hollowness of how the rest of the community's reaction to their relationship is handled?

Yeah, I agree w/r/t the possibility that a second viewing of Village might lead to the whole thing collapsing under its own weight. There are still a few sequences that I thought were really well done moments of the modern day pop cinema M. Night so clearly wants to master, such as (VAGUE SPOILER!) Ron Howard's daughter walking across the entire village with her arms out hoping that at some point Mr. Phoenix will grab onto her hand... that thrilled me if for only a second.

Yeah, Cinderella Story was not smart at all. And damned monoteutonic (if that's a real word) about putting the same obstacles in front of H. Duff over and over again. It's like watching the 1950 Disney cartoon where the first hour of the movie is compressed into 20, and the last scene with the mice hoisting the key to the attic up the stairs elongated to an hour. I really had to scoff at the way the diner was stocked with every form and shade of "unperfection" (ethnic and bodytype) imaginable, and that they'd all be willing to risk their economic lifelines (i.e. their shitty jobs at the diner) to help a pretty, willowy blonde girl fulfill her dream of transcending the working class (i.e. "you don't belong here because you're not hispanic, black, or fat").

Yeah, I did start every line with the word "yeah."

The trailer for Cindarella Story and that joke about Botox. How drawn out and obvious it seems. Her punchline is basically referencing Botox then reminding us what it is. The joke just made my skin crawl and I'd have to be paid to see this movie.

Before I read this thread, does it contain spoilers? Because somebody always ruins a film for me before I see it for myself...

Bruce Willis is actually a ghost.

i just saw this film last night. i enjoyed the symbolism, character development, pacing, lighting, and unobtrusive opening credits. people talk about plot inconsistencies but often forget that "consistency is the hobgoblin of little minds". in other words, consistency is often traded for symbolism. ok, those are the pros.

the cons: the movie seemed to contain negative stereotypes towards people dealing with mental illness. also, the romances all seemed a bit lifeless, but then again maybe that's how shyamalan intended them to appear.

conclusion: this movie was radically better than Signs, which had me bored to death and didn't seem scary at all. The Village seems rich with meaning, and possible interpretations. i had no problems with the ending, and was actually relieved to see much of the inconsistencies resolved at the end.

people who take this movie (or any movie) entirely literally are missing the point of suspending disbelief/watching a movie. movies are stories with self-contained logic, but if the logic fails, it doesn't make alot of sense to be angry--it's all pretense to start with. i suggest save your analytical powers for the symbolism and reflections of the social context in which the movie was concieved and made. i sound preachy, but i'm just a fan.

mr shyamalan, thanks for not making another Signs, although sometime i think you tried to make Signs bland as a form of irony/IQ test of the viewers.

Yeah, apparently we were all missing the "hidden" symbolism that was smacking us is the face like a frying pan.

Shyamalan is a hack; if you want obvious, prentious symbolism, rent "Wild Strawberries". At least there's a good film underneath the 6th grade level metaphors.

I don't think anyone here has a problem with a lack of "logic" in filmmaking--most people here are fans of experimental and independent cinema, so we have no problem with avant-garde narrative techniques and formalistic deviations from the norm.

What we do have a problem with is directors who think their audience to be fools. Most people had this film figured out within the first 30 minutes--that's not a good thing when you bill yourself as a "master of suspense". His films have become formulaic and repetitive & unless he makes some major changes in his next work, he can pretty much kiss his career goodbye.

well said Mr. Blanchard.

thank you!