As in Sixth Sense and Unbreakable, M. Night Shyamalan has created a story that focuses on issues that are usually seen in blockbuster films, such as ghosts, super heroes, or in this case, a possible alien invasion. Instead of telling his story visually with special effects and action pieces, he succeeds with his style of mood and tone, an intimate feeling that keeps you engrossed from beginning to end. We watch in anticipation, the audience sees what the characters see, and as in his past two movies, the ending is based on ideas that are presented throughout the movie. Shyamalan explores the people involved, their personal crisis, and how they might be affected on an emotional level.

Once again, his characters do not include a former Navy Seal, or a cop on his last day before retirement, rather ordinary folk, those not out for revenge. There are mythological themes and questions regarding the ability to overcome psychological and emotional difficulties. In Sixth Sense, we coexisted with dead people, and everything was not as it seemed. Unbreakable examined the idea that our limitations are self imposed. Only through self discovery can we fulfill our potential. In Signs, we are seeking answers to questions such as do things happen for a reason? Or is life just a bunch of random events, without rhyme, meaning, or destiny?

Mel Gibson is Graham Hess, who lives on a farm in Pennsylvania with his two kids Morgan and Bo (Rory Culkin and Abigail Breslin), and his younger brother Merrill (Joaquin Phoenix). There is no setup, we delve right into the story. Several crop circles have appeared around the world, and most importantly, in Graham’s own farmland. Hess is a former minister, who has suffered a personal tragedy and thus lost his faith. Merrill never reached his potential as a baseball player, yet still manages to keep a more positive outlook. Morgan is a bright kid with asthma, very protective of his younger sister Bo, who has a strange habit of leaving glasses of water around the house. Fairly quickly, they all suspect that something is out there, the dog barks incessantly, and the sounds of footsteps lead us to hints of what may or may not be aliens. All we know of the outside world is from what they see on the television news. This film is concerned only with what happens to the Hess family, perhaps as a reflection of what everyone else might be going through.

Shyamalan excels at getting wonderfully understated yet forceful performances out of his actors. He’s probably the best at directing children, their uncorrupted spirit that balances the pessimistic adults, a common theme in his movies. Gibson, who has starred in many of his own blockbuster films, makes Graham easy to sympathize with in terms of his lack of faith, bitter at his perceived betrayal of his dedication to religion and helping others. Merrill, despite his own shortcomings, manages to be more stable than Graham. He is determined to at the very least appear strong for the sake of the family. Phoenix evokes a vulnerable fortitude, based on his belief that everything will be all right. This is more about faith and perseverance through stressful times than it is about crop circles.

The cover of Newsweek touts Shyamalan as the next Speilberg. They both like grand themes, but unlike Speilberg, his do not exist on a grand scale. Saving Private Ryan minus the war, or Jurassic Park with only a glimpse of the dinosaurs, then a comparison might be more appropriate. Instead, he’s more like Hitchcock, as if whats not happening is more important than what is. The opening and main musical themes are reminiscent of Psycho, and he builds tension through silence, the look on the face of his characters always speaking in high volume. While Shyamalan has a long way to go to deserve to be mentioned in the same vein as Hitchcock or Speilberg, with Sixth Sense, Unbreakable, and now Signs, he certainly is off to a terrific start.

Rating: ***1/2