The Village (2004)

• Year: 2004
• Released: 30 Jul 2004
• Country: United States
• Adwords: Nominated for 1 Oscar. 4 wins & 24 nominations total
• IMDb: https://www.imdb.com/title/tt0368447/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_village
• Metacritics: https://www.metacritic.com/movie/the-village
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: PG-13
• Genre: Drama, Mystery, Thriller
• Runtime: 108 min
• Writer: M. Night Shyamalan
• Director: M. Night Shyamalan
• Cast: Sigourney Weaver, William Hurt, Joaquin Phoenix
• Keywords: horror, secret, forest, rural area, pennsylvania, usa,

	6.6/10
	44/100
	72% – Audience

The Village Storyline

‘The Village’ depicts the tale of an isolated town confronting the astonishing truth that lies just outside its borders. At first glance, this village seems picture perfect, but this close-knit community lives with the frightening knowledge that creatures reside in the surrounding woods. The evil and foreboding force is so unnerving that none dare venture beyond the borders of the village and into the woods. But when curious, headstrong Lucius Hunt plans to step beyond the boundaries of the town and into the unknown, his bold move threatens to forever change the future of the village.

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The Village Movie Reviews

One of Shyamalan’s Best Films

The Village is set in a small, rural community living in a kind of 19th Century self-supporting agrarianism. Woods surround the town, and the villagers maintain a strict perimeter, as there are creatures in the woods with whom they’ve reached a truce so long as the borders are not breached. Tension mounts as the creatures start breaking their normal pattern, and one of the villagers, Lucius Hunt (Joaquin Phoenix), seeks permission from the town elders to travel through the woods, to the towns and “those we don’t speak of”, so he can acquire medicine for his fellow villagers.

For anyone seriously interested in the art of film, The Village is worth a viewing just for its cinematography and score. That’s not to say that the story isn’t good. It’s a captivating tale of a very odd small town, complete with a twist, as is characteristic of director M. Night Shyamalan. The twist may not be as shattering here as it was in some of his previous films, such as The Sixth Sense (1999) and Unbreakable (2000), but it is still a change that catalyzes an eye-opening recontextualization and reassessment of the previous material, making the film and the final resolution of the story even more poignant. It is also interesting to note the many possible metaphorical readings, ranging from political insularism to religion, or even more literal comparisons to social and geographic segregation (from ethnic enclaves to gated communities).

Shyamalan could be said to have a directorial gimmick, although that might not be the best word because it’s usually taken negatively, and I don’t mean it to undervalue his approach. He makes genre films in the guise of realist dramas. So far, all of his films since he hit it big with The Sixth Sense have used this interesting device, each in a different genre. The Sixth Sense was a horror/ghost story. Unbreakable was a comic book film. Signs was sci-fi. The Village is fantasy/adventure. It also has some horror elements (as do Unbreakable and Signs).

Part of Shyamalan’s genius as a filmmaker is that he can achieve the usual responses associated with those genres using such unusual, relatively mundane and realist material. For example, in The Village, he is able to build up an incredible amount of suspense in relation to two very simple things–flowers of a particular color, and beginning a walk into the woods. A simple walk into the woods is also the beginning of an adventure just as grand as any depiction of a quest for the Holy Grail, say. And the ensuing plot developments, although very ordinary on one level, have a profound, redemptive effect. Many of the most important developments in the climax aren’t even directly stated; they’re just subtly implied in what we’re shown, yet they all work extremely well. While Shyamalan’s style may require some adjustments for viewers more accustomed to chaotic, MTV-paced genre films, or on the flipside, for viewers less accustomed to elements of fantasy in their films, it is worth altering your preconceptions about pacing and content.

The cast is excellent. I’m not usually the biggest fan of William Hurt, but I even loved his performance. Joaquin Phoenix and particularly Bryce Dallas Howard are amazing. The film wouldn’t have worked without the right person in either actor’s roles. Both were perfect choices. There is also a wonderful, very slight surreal quality throughout most of the film shown in the behavior of the villagers towards each other.

James Newton Howard’s score may be his best to date in a very long list of credits. The music always provides just the right atmosphere, sense of wonder/mystery, pathos and suspense. Roger Deakins’ cinematography is equally brilliant, capturing a slight eeriness, sense of foreboding and comfort all at the same time, and with an ingenious use of colors. Much of the film leans towards rich yellow/orange hues and tints, with strong green accents in the grasses and trees. Whenever red is introduced, it is appropriately intense. The framing of shots and staging of scenes is equally impressive.

I know that this film has had its detractors, but I cannot see why. For my tastes, The Village is yet another masterpiece from a very creative, innovative filmmaker.

I didn’t think it was that bad actually….

Of the four films of M Night Shyamalan’s that are panned as bad- The Village, The Happening, Lady in the Water and The Last Airbender- I thought The Village(having just finished re-watching it yesterday and was not sure what to make of it at first) was the least bad of the four, to me the other three are as bad as they’re said to be.

I wasn’t expecting to like it after so many uncharitable things both here and elsewhere and by how it was marketed, but I sort of did. It does look great with beautiful scenery and brooding cinematography and the score is very haunting, eerie quality about it. There are also some genuine jolts and poignancy in the first half, and The Village with a great concept does start off intriguingly.

The best thing about it though is the cast. William Hurt is nuanced and intelligent and Joaquin Pheonix is wonderfully stoic, but the biggest surprise was Bryce Dallas Howard, who was fantastic and quite moving here. There were however a few disappointments, and I say this as I consider these actors the most accomplished generally of the cast. Sigourney Weaver and Brendan Gleeson are great actors but underused and Adrien Brody comes across as wasted in a rather nothing role.

What let The Village down and from stopping it from being more than it had potential to be was that while M Night Shyamalan can have films where he is a master-storyteller(The Sixth Sense, Unbreakable) or where he is sloppy(2nd half of Signs, The Happening), he comes across as rather over-ambitious here. The story is so interesting at first, but the second half is let down by too many ideas, and some of them are wonderful ideas but underdeveloped.

Consequently the pace becomes more drawn out, the dialogue becomes clunky and apart from Howard I found myself indifferent to the characters by the end. And to top it all, the ending is ridiculous. All in all, not that bad but has a lot wrong with it in my opinion. 6/10 Bethany Cox

The beginning of Shyamalan’s fall from grace

2004’s THE VILLAGE marks the beginning of M. Night Shyamalan’s fall from grace as director, following the double-whammy of THE SIXTH SENSE and UNBREAKABLE. SIGNS was okay, but THE VILLAGE displays the kind of self-indulgence and sense of make-believe that scuppered the likes of the progressively worse LADY IN THE WATER and THE HAPPENING.

Despite the novelty of the storyline (in which an Amish-style community are terrorised by monsters in the woods, but nothing is what it seems), THE VILLAGE falls flat purely because of its sense of artificiality. The performances are all mannered and stilted despite the considerable talents and experience of principle cast members (including Weaver, Hurt and Brody) and the storyline seems gradually more and more silly as it unravels.

Come the end, instead of being wowed by the umpteenth twist (although I’d already guessed some of the major ones), you’re left thinking: is that it? This is cinematic evidence of Shyamalan’s extreme narcissism, a shame given his undeniable talent at the earlier stage of his career.