A stylish film that argues its theology poorly

Rating: Null/10 (3 August 2002)

Contains Spoilers "Signs" is a chilling, suspenseful, and thoughtful film that ultimately does not satisfy. Director Shyamalan's point is that even in the face of incomprehensibly heartbreaking tragedy, or utterly alien threat, one should not lose faith that a higher Power is at work. A higher power that is lovingly weaving all of the details of life--from small oddities to life-shattering suffering--into a plan for one's happiness and fulfillment.
Theologians call this Divine Providence, which is of course a weighty subject. A film that attempts to demonstrate it in action, and show how lives are changed and bettered through it--in this case Mel Gibson's Graham Hess--needs to marshal the evidence carefully and convincingly. The elements of the film all need to be successfully constructed in order for the argument not to seem forced and heavy-handed. Shyamalan only partially succeeds at these endeavors, and as a result this stylistically excellent film falls short at the end.
As viewers of the Sixth Sense knew coming in, Shyamalan can create the sense of the numinous--the idea that otherworldly powers, benevolent or threatening, infuses the daily world--extremely well. Shadows move under doors, corn stalks rustle, characters listen tensely, and the viewer is on the edge of his seat. Signs does not disappoint in this regard.
The characters must also be convincing, and they are. Gibson's Hess is suitably bitter and brooding, but lovingly devoted to the family; Phoenix's Merrill is the sort of dopey yet loyal and caring brother; and Culkin's Morgan and Breslin's Bo are emotionally engaging. Others have noted Shyamalan's ability to get excellent performances out of child actors, this film is no exception.
Shyamalan also creates suspense by only developing slowly what the real threat is. Are the crop-circle artists human or otherworldly? What is it lurking around the farm--something natural or supernatural? The types of fear are mingled well, and distinguished as the film progresses. The real threat is natural--hostile aliens--while the real hope of life and happiness--is divine.
But the plot is weak, and the ending in particular strains credibility. Why does an alien, whose species are compared to Olympic gymnasts in their agility, stand around like a statue in the Hess' living room waiting for Merrill to bash its brains in? As noted above, why on earth does a species vulnerable to water invade precipitation-prone earth, and in the buff at that? The similarity to the Wicked Witch of the West, also noted above, undermined some of the suspense. For crying out loud, is *that* what we were scared of? Just turn on the garden hose!
A cast and a director this good needed a better ending. Shyamalan wanted to show how every detail he chose contributed to the final victory--Bo's water obsession, Merrill's baseball successes and failure, Morgan's asthma, and Colleen Hess' dying words. But he forces them together, and thus undermines the credibility needed to demonstrate higher power at work. Those of us who already believe in higher providential power share Shyamalan's view of things, but this film may not convince many others due to the weaknesses noted.