In a cinematic world that was all too tightly embracing slasher gore for cheap scares, M. Night Shyamalan came out of virtually nowhere and reeducated us all in the art of fright. In his major motion picture directorial debut, Shyamalan crafts a nearly perfect mystery thriller that knows all the right strings to pull. The depth and range of emotions that he manages to pull from his actors and the quality product that he produces with this film leaves little doubt as to why he was being hailed as the next Alfred Hitchcock.
Bruce Willis stars as a child psychologist trying to help a young boy with a peculiar dilemma. The boy, named Cole (brilliantly played by Haley Joel Osment), has a secret that he is too scared to reveal to anyone. Slowly, Willis earns the boy's trust and he begins to help Cole conquer his demons. Along the way, there are plenty of jolts and classical scares.
Instead of overusing blood and gore that teen horror flicks had come to rely on for chills, Shyamalan crafts a genuinely creepy tale that knows what scares us most- the unknown and the unseen. Some of the scariest moments in the film come while we’re anticipating something to happen. Shyamalan really has a handle on how to manipulate the subtle surroundings that cause our own minds to scare ourselves silly when we’re alone in the house.
And not enough can be said about Osment’s Oscar-nominated performance. It must be psychological, but seeing a child frozen with fear is itself terrifying. Had the film been about an adult suffering the same problems as Cole, it wouldn’t have been nearly as successful. The inclusion of children as an element of terror works almost like clockwork.
If you can’t tell, I’m being very protective of the film’s big secrets because I don’t want to spoil it for anybody. Sure, it was made nearly 10 years ago, but this film is so ingenious that I’m not willing to risk spoiling it. It’s seriously that good.
The fantastic and shocking story makes the film worth watching. The symbolic and significant use of color, camera angles and imagery that you’re likely to miss the first time through make it worth repeat viewings. The chills and thrills may not work as well your second or third time through, but it’s unlikely that you’ll ever forget the first time you saw The Sixth Sense.
Unfortunately, Shyamalan had hit-or-miss success with his later films. His unparalleled success with his first major film really set the bar unfairly high and few have been able to give him a fair shake since, but no one can take away the greatness he accomplished with this film.
Quite possibly the most charming film I’ve seen since Big Fish, and that’s saying something. Let me warn you though, this film is incredibly vulgar, filled with cursing and references to all kinds of stuff kids don’t need to see. While the plot reads like a standard family road trip comedy, Little Miss Sunshine is brutally honest in its portrayal as to how screwed up people can be.
A family puts all their effort into making sure little Olive gets to the Little Miss Sunshine pageant, because it is her biggest dream to do so. Then comes the quirkiness. Olive’s parents are strapped for money and fight a good bit. Her mom is neurotic and over-worked, while her dad is a failure at trying to sell his motivational self-help series. Her brother is a Nietzsche reading artsy-fartsy type who has taken a vow of silence until he achieves his goal of becoming a jet pilot. Grandpa just got kicked out of the old folks home for snorting heroin and manages to fill in those silent moments with a barrage of obscenities. Finally, there’s Uncle Frank- a gay Proust scholar who recently botched a suicide attempt after learning that his ex-boyfriend is now dating the guy that beat him out for a prestigious grant.
After discovering that Olive has gotten a chance to compete in the Little Miss Sunshine pageant the family loads up into a rickety VW Bus and heads off on a journey you’ll never forget. No matter how hard you may try.
Some liken it to National Lampoon’s Vacation, except that Sunshine is darker and presents plenty more obstacles in the family’s way before they can get where they’re going both literally (the pageant) and as a family. It seems to me that the graveness of some of the things they encounter provides the balance that many family road trip films lack. Sure, there are plenty of clichéd, been-there-done-that scenarios, but Little Miss Sunshine doesn’t give in to the sappiness of those clichés. Instead, they bludgeon them to death with the right mix of dead-pan humor, bleakness and obscenity to elevate those clichés to a new level of comedy.
There are plenty of laughs in this film. The complete and utter lack of rationality in some of the choices that are made are so absurd that you can’t help but laugh. Then there are the inappropriate laughs, which you know shouldn’t be funny but are anyway. That’s the real secret to this film’s formula of success. Portraying situations that would be treated as a somber moment in other family trip films, effectively killing the humor for a moment of sap, but then throwing compounding amounts of absurdity on top of it to break the norm.
Raunchy, obscene good fun abounds in this film but the cursing is a bit too casual, which held Little Miss Sunshine back in my ratings scale. If the vulgarity had been toned down just a smidge, I might have supported this film for Best Picture at the Oscars. While it is certainly an excellent movie and one of the best of the year, I hesitate to declare it THE best of the year.
Definitely watch this film. It’ll warm your heart and warp your mind.
In a cinematic world that was all too tightly embracing slasher gore for cheap scares, M. Night Shyamalan came out of virtually nowhere and reeducated us all in the art of fright. In his major motion picture directorial debut, Shyamalan crafts a nearly perfect mystery thriller that knows all the right strings to pull. The depth and range of emotions that he manages to pull from his actors and the quality product that he produces with this film leaves little doubt as to why he was being hailed as the next Alfred Hitchcock.
