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08/09/02

Frank's film tip: There are good "Signs" of life in M. Night Shyamalan's glossy sci-fi fantasy

Writer-director M. Night Shyamalan's enchanting new sci-fi fantasy "Signs" is a movie that knows how to capture the essence of a tingling sensation within one's wondrous imagination. Shyamalan, known to countless moviegoers as the force behind the box office thriller "The Sixth Sense", has the penchant for parlaying his irresistibly chilling vehicles as supernatural celebrations worth experiencing. "Signs" is superlative when its quiet tone and methodical delivery assists the audience in its unassuming tension-building climax. Visually alluring and masterfully well-paced, the film is a cerebral exploration of faith and the unexplainable--two concepts that are a constant staple in Shyamalan's cinematic creed. This is a compelling drama in the unconventional sense that the special effects are not the steering wheel that drives this thought-provoking, creepy vehicle.

In Shyamalan's latest examination of sci-fi curiosity, he takes on the phenomena of crop circle patterns. What's so clever about tackling this particular happening is the fact that it's an ideal hoax to elicit some human inquisitiveness regarding the mysterious ways that lurk about in the cynical shadows of the beyond. Years ago, these so-called crop circle patterns began popping up in farmlands much to the dismay of shocked onlookers. At first, this phenomenon was dismissed as some man-made prank. But eventually, folks began to question these symbolic markings as something extraordinary...dare we say...the act of audacious aliens?

The fearful realization of this scary occurence is placed upon the expressionistic green landscape of the Pennsylvania-based Hess family. Recently widowed Graham Hess (Mel Gibson) is a former priest and current farmer who has lost all hope and is trying to keep his young family together. His charges, Morgan (Rory Culkin) and Bo (Abigail Breslin), are impressionable and rely on their father for emotional support in the wake of losing their mother to a freakish road accident caused by a neighbor (Shyamalan). Even Graham's brother Merrill (Joaquin Phoenix) has moved in to help out his older sibling. But Graham is unresponsive and heartbroken; nothing can get him out of his funk.

In addition to coping with being a grieving widower and struggling single parent, Graham must also contend with the bizarre extraterrestrial activity that is taken place on his isolated, Pennsylvania farmland. And to boot, folks still want to refer to him as Father Graham Hess, the once high-spirited priest with everything to live for. Although the adults are pretty much drained of their spiritual fiber, the kids are better equipped to handle the chaotic state of their terrorizing existence. In essence, the blinders are put on the grown ups but the children are left to see the underlying mayhem. This is a clever observation because this is a sign of sheer innocence at work trying to attack the curve ball of life's tricky pitch.

"Signs" could be considered a meditation of different sorts. On one hand, the film works marvelously as a glorified and articulate glossy B movie with a sophisticated thrill factor that's firmly attached. On a different level, it's a sci-fi caper that feels comfortable asking more questions than it does wanting to answer them. Shyamalan has the supreme touch when it comes to subtlely serving up the little factors that get us thinking with our nerves on edge. As a filmmaker, he proudly carries that Hitchcockian aura about him although his tactics aren't nearly as playfully droll.

Whereas some moviemakers will bend over backwards to spell out the suspense in some bloated, obligatory manner via flashy and over-indulgent storyline devices, Shyamalan merely uses the minor aspects of his spookfest to intrigue us. When one begins to question why the family dog is suddenly going bonkers or why half pint Bo tells her dad Graham that there's a creature outside on the premises, this is the kind of low key chilliness that feels so darn refreshing and skillful. Shyamalan definitely is from the old school that solidifies that the art of suspenseful fortitude is based in the anticipation of the frightful moment, not necessarily the overzealous moment itself.

Gibson is very convincing and reassuring as the disillusioned dad trying to make sense out of his loss while maintaining his responsibility as the provider for his treasured tykes. Gibson is very restrained and you feel for his saddened state and all the foolishness he must contend with on every level. The kids, both Culkin and Breslin, are quite okay and measure up considerably to the savvy wayward wanderers that are so identified with Shyamalan pubescent protagonists. It's safe to say that Haley Joel Osment won't lose any sleep over the "Signs" kids' performances. And actress Cherry Jones is delightfully sound as the local policewoman Paski of Bucks County who shares in Graham's grief and his eventual suspicions of foul play concerning the possibilities of alien infiltration.

"Signs" is indeed a flawed film as the script begs of all sorts of logical lapses (for instance, why the indifference to the Hess family's alien-infested farm in an age of omnipresent mainstream and gossip-minded media buzzing around?). Still, this tidbit--among others--can be overlooked because Shyamalan delivers in the other areas of concern. This being, of course, one man's descent from God and all that is holy and sacred until a few monumental episodes transpire thus testing this very individual's barren soul.

It's kind of tough to overcome the juggernaut that is "The Sixth Sense" because every film that Shyamalan helms will have that inevitable comparison. "Signs" may be lightweight and fragile in comparison to "Sense" and even to "Unbreakable" for that matter, but nobody can deny the eye-popping quality to this exquisite soul-searching drama.

Frank rates this film: stars