Cole Sear, garçonnet de huit ans, est hanté par un terrible secret : son imaginaire est visité par des fantômes.Traumatisé par ses pouvoirs paranormaux, Cole s’enferme dans une peur maladive et ne veut révéler à personne la cause de son enfermement, à l’exception d’un psychologue pour enfants.
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Viewed again 20 years later, M. Night Shyamalan’s stealth blockbuster has a lot going for it, starting with the director’s preternatural command of pacing, blocking, and tone (all superior to his tin ear for dialogue), and yet it’s unthinkable without Willis’s against-type casting and emotionally transparent acting.
It felt like a series of disconnected, not-very-interesting incidents designed to pass the time until we got to the Big Twist that Bruce Willis’ child psychiatrist Dr. Malcolm Crowe was really a ghost who was visible only to Haley Joel Osment’s Cole Sear. True, belatedly learning that Crowe had been killed in the opening scene lent some of his odder interactions a retroactive poignancy. But on a pure story level, I found this underbaked.
"Tell me the story about why you're sad." In so many ways, this imperative is at the heart of all of M. Night Shyamalan's films. At a recent 35mm screening in San Francisco, I was awed by how unbearably sad and quiet this film is. As a viewer, you spend so much time listening intently to the screen. It makes me feel audiences in 1999 had to be older and more sophisticated to turn this into a colossal box office hit.
Still impressive after seeing it many years ago, chilling and moving. Fujimoto's camerawork is genius by the way you see it and the performances by the cast are brilliant & fit in the storytelling. I would say Shyamalan did do some good thrillers then (SIGNS, THE VILLAGE, and THE HAPPENING), this would mark the best effort from him. 5/5
Oddly known for its twist/genre elements than for the dramatic factors. Yet, the revelations are obvious if one is familiar with the tropes, and the scares are not dwelled on or pronounced enough to garner a fear or suspense factor. But, as an allegory on loss, grief, dignity in death, and personal acceptance of oneself, it's dimensional. It may be very sentimental, but pessimism is the modern cliche, not optimism.
Good script. Movie that doesn't age well. It didn't, for me. Watched it, when it premiered, at a theatre. And it felt creepy. But now the story feels just like a shadow of the effect it once had on me. Like a magic trick that only works once.
setelah nonton ini film,gw sempet ngomong dalem hati:"EH SHYMALAN,KAU STOP TIPU-TIPU YA,SAYA TRADA WAKTU KAU BUAT TIPU2,KAMU INI,FILMNYA KOK AKHIR2 INI JELEK SEKALI,FILM2 KAMU AKHIR2 INI CUMAN NAWARIN TWIST2 YANG SO-S0 DOANG, BIKIN SAYA MUAK SAJA,EH,KALAU SAYA MUAK,SAYA MENGGILA!!
I wanna start by saying that had the twist not been spoiled for me countless times before seeing this film, I feel I would have appreciated it significantly more. That being said, I thought the film was good. Not great but good. Willis and Osment are absolutely incredible and the color scheme of this movie is pretty cool. Didn't feel too emotionally involved with any of them and none of it really scared me.