Rating: 1.5 stars
Oh, the quandary of M Night Shyamalan. On the one hand, you’ve got to really admire a guy who relies on good old-fashioned storytelling and suspense—nary a CGI effect in this guy’s films—to get the job done. On the other hand, enough already.
It’s all been down hill since the ingenious Sixth Sense, a film so intimate, so tightly directed, it made most viewers ignore the painfully obvious (how many times did that damn kid have to tell us that “they don’t always know when they’re dead?”). What followed—Unbreakable—seemed like a sophomore slump. But then there was a junior slump (Signs), a senior slump (The Village), and a post-graduate slump (The Lady in the Water).
Indeed, with The Lady in the Water, it seemed that not just the critics, but the previously on-board movie viewing public were over Shyamalan. He relied on too many trick endings (increasingly easy to figure out), too much dime store mysticism, too many eye-rollingly contrived scenarios. And what’s more, his “legend in his own...