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The Visit (I) (2015)
10/10
The Night we knew and loved is finally back.
10 September 2015
Well that took a while but I can now say that he is back. I think this is the kind of film where he thrives– low budget, small and intimate domestic settings and a smaller scope. It has echoes of Signs, The Village and The Sixth Sense. I see that critics are comparing it to The Conjuring and I would agree to an extent yes, it has the same level of information withholding.

It's amazing how this film manages to be so wonderfully terrifying without the use of much cgi or special effects. A couple of points in the film I yelped and let out a nervous laughter (and I'm a tough guy).

M. Night Bashers will continue bashing this film but I feel this will stand the test of time, much like his best films. I hope he keeps this up and makes two or three more of these 'small' films quickly and then perhaps, people will eventually forget his larger failures.

I say, watch it. If anything, it's a fantastic lesson in directing horror through restraint.
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7/10
Early hints of the Shyamalan we know
15 June 2013
Warning: Spoilers
James Berardinelli reviewed this film in 1993 (http://www.reelviews.net/movies/p/praying.html) and said "...there are occasional glimpses of promise which indicate that Shyamalan may have a future in film making."

And boy was he right! This film has hints of 'supernatural' or rather 'spiritual' elements to it but none of them as prominent as the ones he's known for. It has some gorgeous cinematography by Madhu Ambat (who would go on to win 3 National Film Awards in India in the years that followed). The editing is very text book film school-ish and moves the story forward without any fuss. The acting is more like a high school play though.

I found this film interesting for reasons Shyamalan couldn't have foreseen. It became a document of that place and time- Coastal South India in 1993. There are some shots in the film that invoke a real sense of nostalgia, especially if you're Indian and you grew up in the southern states.

Shyamalan's trademark hints of humour are also present here, especially with the joke involving Michael Jackson. There is also a subplot thrown in that addresses Hindu-Muslim tensions of the early 90s and I have a feeling this was what Shyamalan was probably embarrassed about later in his career. He builds the second half to an emotional crescendo and the ending is heartbreaking.

This is more of a collector's item for Shyamalan fans. If you got your hands on a copy (which will be mostly VHS) then don't let go of it. And what more, you might even enjoy watching it.
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