What The Hell Happened To M Night Shyamalan?

m-night-shyamalan-picture-2

He came on the scene from seemingly out of nowhere in the cinematic banner year that was 1999. The film that put him on the map became a cinematic event and received a Best Picture nomination. He was being regarded as “the next Spielberg”.

Last year he released a big-budget summer sci-fi movie. Upon release, the studio tried to hide his name in the promotional materials fearing it would be box office poison.

What the hell happened to M. Night Shyamalan?

Manoj Shyamalan was born in 1970 in Mahe Pondicherry India. After six weeks, his parents moved back to Pennsylvania.

After receiving a Super 8 camera at a young age, Shyamalan began focusing on film as his passion. By the time he reached the age of 17 he’d made forty-five home movies.

Following in the footsteps of such luminaries as Martin Scorsese, Spike Lee and Oliver Stone, Shyamalan went to New York University Film School. While there, he made his first feature film Praying With Anger.

shyamalan - praying with anger

Praying With Anger got a very limited release in 1992. Not many people saw it (myself included) and indeed I’d wager that most don’t even know it exists.

Shyamalan moved on. After Praying With Anger he went on to write and direct his second film Wide Awake. It was released in 1998.

shyamalan - wide awake

Wide Awake was about a ten-year-old boy who struggles with questions of life and death after he loses his grandfather played by Robert Loggia.  Dennis Leary and Dana Delany play the boy’s parents.  Rosie O’Donnell played a nun who teaches at his school

That trailer sells the movie as a heart-warming coming of age comedy.  Shyamalan has described Wide Awake as a comedy that he hoped would also make people cry.  To that end, he wrote and directed scenes like this one:

[Note from Lebeau: I hate to insert myself into someone else’s article, but I just can’t stop rolling my eyes.)

Wide Awake was filmed in 1995, but wasn’t released until 1998.  Even then, Miramax only gave it  a limited release. Reviews were mixed to negative.  Roger Ebert openly wondered “who the movie was made for.”  I got around to watching it a few years ago and found it to be not bad. It’s an anomaly of sorts in Shyamalan’s catalog. But it also proves that the painting into a corner that happened later on didn’t need to happen.

A year later, Shyamalan would release his next film and his life would change forever.

In 1999 Shyamalan co-wrote the script for Stuart Little. That film was a modest success at the box office. However, it was another film that would reveal itself as a cinematic game changer for both Shyamalan and Hollywood.  According to Shyamalan:

“I guess I would say that I manage it in the sense that I try to make it more accurate. For example, you’re saying the audience’s relationship started with me with The Sixth Sense. That same year I wrote Stuart Little. That combination is pretty accurate. The breadth of that and my interest in that, the family-oriented nature of that story — somewhere between there is where a lot of my movies fall, but if you don’t take that side of it into account, it’s probably more limiting than what my tastes are.

By the way, I ghost-wrote a movie that same year that would even add to the breadth of it all, but I don’t know if I want to tell you which movie I ghost-wrote.”

she's all that

Most audiences didn’t realize it at the time, but in 2013, Shyamalan revealed that he was a ghost-writer on the teen comedy, She’s All That.  She’s All That helped launch a wave of teen comedies in the late 90’s and earlier aughts.  It also featured perhaps the least-convincing nerd-to-babe transformation in the history of teen movies.

she's all that before and after

Clark Kent does more to hide his identity.

The extent of Shyamalan’s involvement is actually up for debate.  Some claim Shyamalan actually wrote the script while others claim he merely polished it.  Like taking a hot girl and saying, “hey, what if we loose the glasses and overalls?” to reveal a beautiful swan.  Reviews for She’s All That were mostly not “all that”.  But it was a hit with audiences.

shyamalan - the sixth sense

Buzz for The Sixth Sense was slow at first. Then it picked up steam. The movie was released in August. By October, it had become the year’s must-see movie.

Bruce Willis starred as a child psychologist who was dealing with marital problems.  Haley Joel Osment played a sensitive little boy who comes to Willis for help because he “sees dead people”.

I saw The Sixth Sense before the hype really took off and had mixed feelings about it. On one had, the story was genuinely entertaining and Bruce Willis proved he had more range as an actor than many of his action contemporaries (Schwarzenegger, Norris). On the other hand, it was too dependent on its much discussed final plot twist.

SPOILER WARNING!!!

My father, who I went to see the film with, figured out the plot twist midway through. Recall the scene where Willis is talking to Haley Joel Osment in the kitchen. Osment’s mother is there too. But she never acknowledges Willis’s presence. That’s tip-off number one that Willis is dead people.

END SPOILER

Anyway, The Sixth Sense went on to become a phenomenon of sorts. It was far from the best movie of the year. But it was entertaining enough, even if it didn’t totally live up to the hype.

The Sixth Sense was nominated for the Best Picture Oscar. No win. But it did announce that a new filmmaking talent had arrived.

Next: Unbreakable and Signs

Posted on February 8, 2014, in Movies, What the Hell Happened?, WTHH Director and tagged , , , , , , . Bookmark the permalink. 62 Comments.

  1. How ‘Fantastic Four’s’ Josh Trank Can Get Out of Directors Jail:
    http://www.hollywoodreporter.com/news/how-fantastic-fours-josh-trank-816006

    by Stephen Galloway 8/20/2015 10:00am PDT

    The filmmaker’s debacle could make him unhirable, but Hollywood history has shown there’s a proven path to career recovery (just ask David O. Russell).

    Early this year, Tony Kaye — the director who had gone to war with Edward Norton and New Line Cinema on 1998’s American History X — sent Daniel Day-Lewis a letter asking him to consider a screenplay he wanted to shoot. Kaye, 62, who hasn’t made a studio movie since X, never heard back. “I am — excuse my French — f—ed,” he tells THR. “I am in jail. I am totally in jail.”

    Kaye isn’t alone. In the wake of the disastrous Fantastic Four, Josh Trank might join him. Trank, 31, helped blow up his own movie on the day it debuted, tweeting Aug. 6 that he made a “fantastic” version that “you’ll probably never see.” Now, says a rival studio production staffer, “No executive will go near him. I might take a meeting with him, just to give him advice, but I wouldn’t give him a job.”

    So is Trank stuck in directors jail forever? Not necessarily. Hollywood has a long tradition of deep-freezing some of its best, refusing them work or giving them minor material. Silent-era master D.W. Griffith became nearly penniless when sound came along. Oscar winner Michael Cimino (The Deer Hunter) turned into a byword for profligacy following the debacle of 1980’s Heaven’s Gate (he went on to make 1985’s Year of the Dragon and 1987’s The Sicilian). Victor Salva was incarcerated for child molestation and served 15 months of a three-year sentence before he was given the job directing Disney’s Powder (1995). But when word of his past surfaced, his career took a serious hit. Die Hard director John McTiernan has had trouble finding work since he served time for his role in the Anthony Pellicano wiretap scandal.

    Other directors have been metaphorically jailed — usually for not making money but also for everything from arrogance and high-profile flops (M. Night Shyamalan) to battling a studio (Mark Romanek, who was replaced on both Wolfman and Cinderella) to being considered “difficult” (Catherine Hardwicke, who was dropped by Summit after the first Twilight).

    Trank should take the following advice — though his agent, WME’s Robert Newman, might need El Chapo-like skills to free him.

    Eat humble pie.

    If David O. Russell could do it, so can Trank. Following much-publicized battles with George Clooney (Three Kings) and Lily Tomlin (I Heart Huckabees) and a host of financing problems on the unfinished Nailed, Russell bounced back thanks to the support of his friend Mark Wahlberg and a series of public mea culpas, returning to glory with 2010’s The Fighter.

    Go back to your roots.

    Gore Verbinski became persona non grata at Disney following 2013’s The Lone Ranger, which forced the studio to take a huge write-down and cost film chief Rich Ross his job. Since then, Verbinski has gone to work for New Regency on the modestly budgeted drama A Cure for Wellness, due out in September 2016. Hardwicke has opted for a similar strategy, with the Drew Barrymore starrer Miss You Already out later this year. And Marc Forster, who was blamed for many missteps on Paramount’s World War Z (2013), segued to the modest All I See Is You, now filming. Trank also could learn a lesson from Darren Aronofsky, who was a studio outcast after the big-budget failure of The Fountain (2006) but came back on the indies The Wrestler (2008) and Black Swan (2010) before being handed Paramount’s Noah (2014).

    Write a great script.

    That’s what Salva did on the 2001 horror flick Jeepers Creepers, which he also directed. “If you write a great script, you can always find actors who want to do it and a producer who’ll find the money,” argues one former executive turned producer.

    Try television.

    After a series of disappointments and two outright bombs (2010’s The Last Airbender and 2013’s After Earth), Shyamalan turned to TV and now is enjoying modest ratings success with Fox’s Wayward Pines. Ed Burns, who has complained about being stuck in jail, created Public Morals, landing Aug. 25 on TNT. Romanek has taken a similar path, directing an episode of the upcoming Martin Scorsese-Terence Winter series Vinyl for HBO, and he may yet come back to film with Warner Bros.’ The Overlook Hotel.

    None of this guarantees success, as Kaye knows too well. The British filmmaker still is bedeviled by his mercurial image. “I have this crazy reputation, which I nurtured,” says Kaye. “I thought you had to be arrogant and awful. But I have learned a lot over the years about process, and how to conduct myself with collaborators within the collective of making a movie, and how to be caring about the pain of others, and not to live in a realm of desire for the self alone.” Now, he says, “I’m hoping I can turn all of my mistakes into the best third act ever.”

    Like

  2. 10 Hollywood Stars That Let Instant Success Go To Their Heads:
    http://whatculture.com/film/10-hollywood-stars-that-let-instant-success-go-to-their-heads.php/9

    M. Night Shyamalan

    Early Success: It’s a familiar story by now. Feted by the media to become the next big thing in Hollywood, Shyamalan first few films certainly lived up to expectations. The Sixth Sense was a revelation on release, with its twist ending immediately becoming an iconic cinematic moment, resulting in six Oscar nominations (though no wins). His follow-up, Unbreakable, was low-key by comparison, but inarguably another fine film, deviating from the standard superhero format and branching out into something entirely different – again turning the twist ending into an art form in itself.

    What Happened Next? Signs was a decent movie, though perhaps not as well executed as what went before it. Since then, Shyamalan has been on a firmly downward trajectory, as each release associated with his name seems to claw the title of ‘worst Shyamalan film’ from the previous movies’ hands. The Village and The Lady In The Water are both poor but the mix of astonishingly bad acting, writing, and, well, everything in The Last Airbender and After Earth takes the biscuit. Much of this decline in standards can be attributed to Shyamalan’s tendency to believe his own hype.

    Around the time of The Village a documentary of Shyamalan appeared titled The Buried Secret Of M. Night Shymalan. The film claimed to uncover the director’s dark past, and featured the man himself storming of screen and withdrawing his consent from filming. Ultimately it was revealed Shyamalan had authorised the documentary as a publicity stunt in order to cultivate the ‘Shyamalan Brand’. It wasn’t easy to take him seriously again after this.

    Like

  3. Here is the trailer to Shyamalan’s new film, The Visit, which is coming out this September.

    Like

  4. Screen Junkies: Worst M. Night Shyamalan Movie?? (this video was made the week After Earth came out)

    Like

  5. Playlist of The Immediate Rise and Slow Fall of M. Night Shyamalan

    Like

  6. 10 Directors Suffering From George Lucas Syndrome:
    http://whatculture.com/film/10-directors-suffering-from-george-lucas-syndrome.php/9

    M. Night Shyamalan

    His Success: M. Night Shyamalan’s career exploded at the mere age of 29 when he directed his third movie, The Sixth Sense, earning him two Oscar nominations (for Best Director and Best Original Screenplay) alongside critical acclaim and a huge box office haul. His other hits include Unbreakable and Signs, while The Village, The Happening and The Last Airbender all made significant profits despite being destroyed by critics.

    His Failures: His abject, unambiguous failures began to abound around the time of The Village, where audiences began to realize that Shyamalan was pretty much just a one-trick pony who relied too heavily on improbable plot twists. His follow-up The Lady in the Water bombed, The Happening and The Last Airbender were trashed despite commercial success, and the Will Smith-starring action adventure flick After Earth was a bust in every way a movie can be.

    Shyamalan suffers from dual “diseases”: he not only had too much money thrown at him while audiences simply expected more of the same brilliance that came before (Lucas Syndrome), but he also peaked far too early and was never able to live up to that early success (popularly known as Orson Welles Syndrome). With his last five movies being flops in one way, another or both, it seems like he just doesn’t care anymore, and given how studios are even downplaying his involvement in their movies, it’s really not looking good for him at all.

    How He Can Save His Career: Ditch the big budgets and try something more down to Earth. To Shyamalan’s credit, his upcoming comedy horror film The Visit sounds like his most interesting movie in years: it cost just $5 million to make, features no A-list stars, and if it’s remotely decent, then it could be the director’s most unexpected success in quite some time. If this one can’t score better reviews than his excessive blockbuster films, then he’ll probably end up on the straight-to-video s***-list before you know it.

    Like

  7. Top 10 Good Movies by Bad Directors:

    Like

  8. 10 Great Directors Who Haven’t Made Anything Good For Years:
    http://whatculture.com/film/10-great-directors-who-havent-made-anything-good-for-years.php/9

    M Night. Shyamalan

    A few months after the release of Signs in 2002, M. Night Shyamalan was being talked about as one of the hottest new talents in filmmaking. His first film The Sixth Sense, though widely parodied, was considered something of a modern classic, and when his followup Unbreakable drew similar praise his next move was entirely his own to make.

    Instead of upping the ante or going off in a new direction to showcase his range, he tried to make another suspenseful and atmospheric thriller in The Village that served only to expose how reliant on plot-twists his entire style was. The Village was as dreary as it was ridiculous, and his career since has lurched from the ludicrous The Happening to the unbearably formulaic After Earth. So toxic had his name become that nowhere in the After Earth posters, trailers, TV spots or website was there a mention of him.

    Shyamalan’s already proved that he’s neither able to recreate his early success or step up to bigger productions, but with his next outing set to be a modestly budgeted and humbly cast horror-comedy called The Visit, there’s still scope for him to pull it back.

    Like

  9. Heard that Fox will air M. Night’s Wayward Pines May 14th!!!!!

    Like

    • Looking forward to it. Even if I expect it to be terrible.

      M Night’s Twin Peaks knock off is a lot less appealing now that we know David Lynch is bringing back the real thing in 2016!

      Like

  10. Is There Another Good Shyamalan Movie? – Nostalgia Critic

    Like

  11. I can’t sleep so I find myself catching up on some of LeBeau’s articles I didn’t have time to read…

    M. Night Shyamalan seems to be a guy who forgot the basics. Somehow his ability to present a rational concept that could be believable was transformed over time, into irrationality. My ability to “suspend my disbelief” which was freely given in the early movies, was gradually transformed into “impossible to believe” to the point where I felt personally disrespected. My expectations were high because I thought this guy had a special talent for telling great stories, but for whatever reason those expectations were gradually beat down until this Airbender movie, that was so bad, so poorly presented as to destroy any respect I had for his story telling abilities. Trust, once destroyed, is hard to rebuild.

    Brad Deal

    Like

  12. And the Worst Director in Hollywood Is…:
    http://411mania.com/movies/and-the-worst-director-in-hollywood-is/

    What it comes to M. Night Shyamalan, the biggest question is, “What happened?” A career that started out with Sixth Sense, Signs, and Unbreakable has delved into a last gasp to get funding. Perhaps his “Endings With a Twist” hurt him. Maybe he was a one-trick pony and he peaked early. No matter, he’s has a string of failures and things don’t look like they’re going to get any better for him.

    Like

  13. Where Jason Reitman Went Wrong:
    http://www.theatlantic.com/entertainment/archive/2014/10/the-fall-of-jason-reitman/381044/

    Once a critical darling, the Men, Women & Children director appears to be on the disastrous M. Night Shyamalan trajectory. The problem? Hubris.

    Five years ago, Jason Reitman’s Up in the Air was released to rave reviews, a slew of Oscar nominations, and box-office success. Critics praised it as a timely, heartfelt work that tapped into anxiety about the ongoing recession and the wave of unemployment beleaguering the nation. Now, though, he’s released his sixth film, Men, Women & Children, and it looks to be his worst-received yet, which is saying something after the critical drubbing his last effort, romantic melodrama Labor Day, got in 2013.

    Pretty much every filmmaker has to contend with bad reviews at some point, but the distressing implication in this case is that Reitman has lost whatever human touch he used to possess. Men, Women & Children is “obvious and mundane, ‘Chopsticks’ pounded on the piano,” writes Amy Nicholson in The Village Voice. “And it doesn’t feel like the work of Jason Reitman, who made a sterling debut with a string of smart comedies.” The Atlantic’s Christopher Orr calls it “a near-total misfire, by turns sour, preachy, facile, and pretentious.” Where Thank You for Smoking and especially Juno and Up in the Air broadly connected with audiences and critics, Men, Women & Children is being lambasted as a tone-deaf piece of cultural commentary, hysterically decrying addictions to screens and social networking as an existential crisis for middle-class America.

    Would Reitman be under fire if Men, Women & Children wasn’t so needlessly hectoring? Or is there an unavoidable target on his back that comes with being an acclaimed young filmmaker? Reitman was Oscar-nominated for directing two of his first three films (Juno and Up in the Air), a nearly unheard-of achievement, and largely skated by any charge of being “overrated” (Juno took some flak for its smart-aleck dialogue, but that fell at the feet of screenwriter Diablo Cody). His fourth film, Young Adult, also written by Cody, was an acidic story that was well-reviewed and found a niche audience. On its own, Labor Day (a disastrously campy escaped-convict-meets-repressed-housewife yarn) could simply be dismissed as a blip. But with Men, Women & Children, Reitman’s career seems to be developing a worrying trend. He’s taking his material far too seriously and has lost sight of the humor and humanity of his earlier works.

    The most obvious comparison for “wunderkind gone sour” in recent memory is M. Night Shyamalan, who was Oscar-nominated at 29 for making The Sixth Sense (the second highest-grossing movie of 1999) but hasn’t directed a remotely well-received film since 2002’s Signs. In retrospect, that film hinted at the hubris that would befoul his later efforts. He inexplicably cast himself in a crucial role and his famed skill for endings suddenly vanished (alien invaders of a watery planet have a critical weakness against water). Two films later, The Lady in the Water saw Shyamalan casting himself as a writer destined to create great works of literature; that and every subsequent effort have been laughed out of theaters by critics.

    Shyamalan now appears to be attempting a “return to his roots” with a low-budget horror movie. The problem for Reitman is that he can’t attempt the same. His model has been remarkably consistent—when he’s not directing Cody’s screenplays, he’s adapting a contemporary novel and injecting some visual verve and a carefully curated soundtrack. The problem can’t entirely be chalked up to the source material, since Up in the Air could have taken an equally dour tack (it’s about a lonely man whose job is firing people) but managed to find warmth for its characters even as George Clooney told angry, sobbing employees they were losing their jobs. Men, Women & Children lacks that humanity—most of its big ensemble come off as storytelling cyphers to essay some blindingly obvious point, like “middle-aged married couples can get sexually restless” or “young people sometimes use video games to escape real life.”

    The other thing that separates Reitman from Shyamalan is his self-awareness. He was candid in a recent interview with ScreenCrush’s Mike Ryan about the failure of Labor Day, saying he was well-aware of his golden streak with critics being broken. “It’s shitty as hell. It’s totally shitty,” he said. “I mean, I was proud of my Tomato Rating and, yeah, it sucked … I’ve done more work on that movie than I’ve ever done on a movie. I’m proud of it. And then it doesn’t land and then you realize, oh, this was a misguided effort, for whatever reason.”

    Reitman could figure things out and rise again; Hollywood is littered with just as many surprise comebacks as it is with stories of faded superstars. But his is still a fascinating cautionary tale. Even when sticking close to his personal brand (he says in that interview that Men, Women & Children is “more in my natural voice”) he seems to have lost the finesse that distinguished his earlier films. Consider Bennett Miller, another classic wunderkind (although one who got started at a later age—his debut fiction film Capote came out when he was 39). He has so far followed a very specific formula, making somewhat chilly biopics that semi-fictionally expound upon the internal lives of real-life figures—Truman Capote and, in Moneyball, Oakland A’s GM Billy Beane. This year he has Foxcatcher, which is about the crazy-but-true John du Pont saga, and it’s getting raves consistent with his previous work.

    Would things change drastically if Miller left his comfort zone, as Reitman did with Labor Day? Maybe. But in Men, Women & Children, I would argue Reitman committed the more fundamental hubristic error of thinking himself a great social commentator. Only Up in the Air really felt like it had something sweeping to say about the state of our nation, and it did it by telling a personal story. By contrast, Men, Women & Children explicitly criticizes people for having their heads in their phones, but forgets to ground the story in anything relatable. Reitman is largely sticking to his formula, but would be well-served to narrow his focus next time on to characters anyone can actually care about.

    Like

  14. Craig Hansen

    You would think the aliens in Signs would have better results from just scorching the Earth, or dropping their equivalent of a nuclear bomb on us to eliminate us, rather than getting out of their spaceships and going house-to-house to kill us. Travelling a hundred zillion miles and then going door-to-door to stab-murder-kill seemed kinda dumb for such intellectually superior aliens. I couldn’t help but think that when I saw the movie at the movie theatre back then.

    Like

    • jeffthewildman

      Good point. Then again, the aliens in many movies are often stupid. For instance, the ones in Independence Day have no idea what a computer virus is or how to stop one.

      Like

    • Yeah. I was able to suspend a lot of disbelief on the first viewing. But they traveled further than mankind can even see. You would think they would at least have weapons. Or clothes.

      Like

      • Clothes! Ha ha. You’re right. For some reason that immediately made me think of the aliens in Close Encounters. No clothes. Then again, there’s also E.T. He’s walking around naked too the whole time, no clothes. Those aliens in Independence Day. Also naked, no clothes. Those aliens in The Arrival, yep, naked as the day they were born. I’m sure there’s plenty more examples. What is it with highly evolved aliens traversing the galaxy buck naked???

        Like

        • I guess if I were going to annihilate a species ala the aliens in Independence Day, I’d be freeballin’. But getting locked in a kitchen pantry in the buff is just embarrassing. It’s something your drunk uncle does, not an alien menace.

          Like

  15. The aliens who hate water invading a water planet doesn’t bother me and I’m not sure why it bothers other people. What choice do they have? They’re probably scavengers who were running out of resources and attacked the first planet they came across that had food they could eat.

    And I don’t think Sixth Sense, Unbreakable or Signs relied on their twist endings at all. You could remove the twists from those movies and you’d be none the wiser. That was not true of The Village at all though. And only Sixth Sense and The Village had that Twilight Zone twist ending anyway.

    Like

    • Regarding the aliens in Signs, we have no idea what their motivations are. I don’t recall anything in the movie that would support or negate your food theory. The aliens are just there. Clearly, they are not friendly. Beyond that, we don’t know much. They are sophisticated enough to travel through space. But apparently don’t wear clothes, can be easily trapped in a pantry and chose to invade a planet that is mostly covered with a substance that is lethal to them. Knowing that, they have not taken any precautions to protect themselves from liquid. Seems kind of dumb to me.

      I could not disagree with you more about The Sixth Sense. You take away the twist and the movie is empty. It is all about the twist. Unbreakable, less so. The twist almost feels forced on because Shyamalan felt the need for a twist ending. Signs isn’t exactly a twist ending. And I totally get that Shyamalan is ripping off/paying homage to War of the Worlds. But the ending doesn’t work for me at all.

      Totally agree about The Village though.

      Like

      • While I liked “Signs,” it was “plagued” by REALLY DUMB aliens (or lazy writing). “Hey, let’s invade a planet that’s AT LEAST 2/3 a substance that’s fatal if it touches us! What’s the worst that could happen?!?”

        Like

  16. I liked Sixth Sense and was genuinely moved by it, but then it resonated strongly with what was going on in my own life at the time.

    And, I have to admit this in public so everybody can rag on me, I liked Signs. I liked that little family hunkered down against the terrifying unknown.

    Initial filming on Signs was interrupted by 9/11. The plane that went down in Shanksville, PA, was about 50 miles from where the cast and crew were assembled. Anyone who was alive and aware on that day will recognize the traces of it in Signs (the horrifically unthinkable rebroadcast 24/7 by the TV news networks; the sick feeling that life as we once knew it might be over forever).

    I also liked Unbreakable, but not as much as either of these.

    Other this trio it’s all unmitigated sludge. Maybe Shayamalan had only three good ideas and he’s used them up. How sad for us, but how much sadder for him.

    PS: Thanks for the Good Vibrations ear worm. Can’t get it out of my head.

    Like

    • I enjoyed Signs quite a bit the first time through. But I have a hard time sitting through it now knowing how it is going to end. Plus, I have soured on Shyamalan and his style. So even the aspects of the movie that charmed me the first time aren’t as enticing now.

      If it makes you feel any better, you have put the Good Vibrations ear worm back in my ear. Thanks!

      Like

  17. 10 Directors Who Should Never Be Trusted With Giant Budgets:
    http://whatculture.com/film/10-directors-never-trusted-giant-budgets.php/9

    M. Night Shyamalan

    It’s hard to think of a high-profile filmmaker that has suffered a fall from grace quite like M. Night Shyamalan in recent times. A mere fifteen years after The Sixth Sense was nominated for Best Picture, Best Director and Best Original Screenplay and saw the writer/director lauded as the most promising talent of his generation, his last four movies were widely panned and have been racking up nominations at the Razzies instead: a return to smaller-scale film-making is well overdue.

    Made for $40m, The Sixth Sense would go on to earn $672.8m at the box office and infiltrate popular culture in the process. His next two movies, Unbreakable and Signs, would each cost around $75m and bring in a combined total of over $650m, along with positive critical responses. From here, things would go downhill as Shyamalan’s penchant for over-indulgence would often get the better of him. The Village did solid business despite middling reviews, but the pretentious Lady In The Water would earn only $72.7m worldwide before the unintentionally hilarious killer plants of The Happening would see his stock plummet even further.

    The $150m Last Airbender is undoubtedly one of the worst blockbusters in recent memory, which nonetheless did decent business at the box office before Shyamalan swept up at the Razzies. After Earth was almost as expensive and just as dull, a relentlessly po-faced sci-fi that placed charisma-free Jaden Smith at the forefront in a show of Hollywood nepotism at its worst. Shyamalan is a talented director, but as a writer he just can’t reign in his self-indulgence. Hopefully his currently shooting micro-budget effort Sundowning will refresh his creativity because the man has proven he is not to be trusted with a blockbuster budget.

    Like

    • 10 Terrible Films That The Wrong Person Got Blamed For:
      http://whatculture.com/film/10-terrible-films-wrong-person-got-blamed.php/10

      M. Night Shyamalan – After Earth

      Who Else Was To Blame: Will Smith

      Figuring out who took the brunt of the blame for After Earth is a tricky task. The film, a hodgepodge of poorly thought out ideas presented in an illogical manner, all brought to life by rote acting, had two key players who were equally as culpable for bringing it to the screen. But as we’ve discovered, people want one person at fault, so was it M. Night Shyamalan’s direction or Will Smith’s general managing of the project that sunk the film?

      Ultimately, it was M. Night who got it worse of it. In decline to the point where his career is more of a joke than Nicolas frickin’ Cage, Columbia Pictures were smart enough to keep him completely absent from the marketing; after The Last Airbender his name was marked by even the most forgiving cinema-goer. When you’ve got that sort of form, it’s not hard to imagine that he’d produce another dud.

      But if you trace the big problems with the film back through the production, it’s Smith, not Shyamalan who is at fault. Turning a nice, low-budget idea into overblown sci-fi? Smith. All that pseudo-science mumbo-jumbo? Smith (and writer Gary Whitta). Casting his untalented son as the lead? Smith. Heck, even hiring Shyamalan was Smith’s idea.

      Thankfully, even though the extent of his involvement isn’t as widespread knowledge as it should, the whole After Earth ordeal has a dint on both Smith’s popularity and ego, so he didn’t get away scott free.

      Like

    • The Last Airbender – Nostalgia Critic

      Like

      • Nostalgia Critic: Real Thoughts on The Last Airbender:

        Like

        • M. Night Shyamalan Stupidly Explains Why No One Liked THE LAST AIRBENDER:
          http://geektyrant.com/news/m-night-shyamalan-stupidly-explains-why-no-one-liked-the-last-airbender

          To this day, I haven’t watched M. Night Shaymalan’s The Last Airbender all the way through. I walked out of the film when it was released in theaters, and I’ve had no desire to ever finish it. It was just one of those movies that I wasn’t going to waste my time on. The movie was bashed by critics, and I have yet to met a single person who has actually liked the movie.

          Talking to IGN, the director attempted to explain why people didn’t like the movie. Of course, he wouldn’t come out and say that he did a piss-poor job. Instead he says it was made for 9 and 10-year-olds, and thats why most audiences didn’t get it. Here’s what he said:

          “My child was nine-years-old. So you could make it one of two ways. You could make it for that same audience, which is what I did — for nine and 10-year-olds — or you could do the Transformers version and have Megan Fox. I didn’t do that. That would have felt like, ‘Well, I’m going to make a movie about a kids show that my 10-year-old is watching and not make it for her. I make it for my guy friends.’ That felt like a betrayal of the innocence of the piece. In retrospect, is it too young to go out — it’s like what your intention is versus what they want it to be. Clearly, 10-year-olds — I go out and 10-year-olds are like, ‘That’s my favorite show! I love that movie!’ Parents come up to me and go, ‘They’ve watched The Last Airbender 74 times!’ Those kids, it’s for them. It was for them, to talk about mysticism and Eastern philosophies through a 10-year-old’s vernacular. So, you know, these are business propositions, which have very little interest to me, of like, ‘Hey, the business proposition is to get Megan Fox to be…’ You know, ‘You should age it ’til it’s that.’ That wasn’t the source material, you know what I mean? Whereas, also, like a Transformers, it’s really fascinating, because it’s valid for Transformers. You know why it’s valid? Because it’s the little boys that were playing with them are grown up now. They’re the ones who wanted to see Megan Fox. That’s absolutely appropriate, you know what I mean?”

          I’m sorry, but that’s complete bullshit. Look at all the great kids films that have been made over the years that even adults enjoy watching. Studios like Pixar, Disney, and even Marvel are constantly pumping out films for audiences of all ages. On top of that, the original Avatar cartoon that the film was based on was better than the movie, it was something adults also enjoyed watching, and it had a more diverse reach. Making a movie strictly for 9 and 10-year-olds probably isn’t the best business plan for any filmmaker.

          Why can’t the guy just come out and admit that he screwed up and made a crappy film, instead of putting the blame on other things? This is just such a ridiculous excuse. A talented director could have made an awesome Avatar movie that everyone could have enjoyed, Shyamalan obviously wasn’t that guy.

          Like

        • The Last Airbender – what went wrong?

          http://www.denofgeek.com/movies/the-last-airbender/35673/the-last-airbender-what-went-wrong

          We look back at M Night Shyamalan’s much-vilified fantasy movie, and ask if anything could have saved it…

          “The Last Airbender is an agonizing experience in every category I can think of and others still waiting to be invented.”

          So began Roger Ebert’s review of The Last Airbender. It sounds harsh, but Ebert’s half-star verdict was fairly representative of the tidal wave of criticism that engulfed director M. Night Shyamalan’s most expensive and, ultimately, most derided film yet.

          But unlike other misfires from Shyamalan, this wasn’t based on his own original idea. It was the first of a planned trilogy based on the beloved Nickelodeon series Avatar: The Last Airbender, which was hugely acclaimed for its visual sense, engrossing storytelling and lively, vibrant characters. What went wrong? It’s almost harder to try and figure out what, if anything, went right.

          The series, created by Michael Dante DiMartino and Bryan Konietzko, takes place in a world torn by war, in which gifted people can control each of the four elements – Air, Water, Earth and Fire. The Fire Nation rules with an iron fist, using their powers and technological mastery to keep the others down. At the start of the series, two siblings from the Northern Water Tribe, Katara and Sokka, discover a boy encased beneath their icy homeland.

          This is Aang, the reincarnated Avatar who can control all four elements and usually keeps the order. But the century since he shrugged off the responsibilities of his role has allowed the Fire Nation to take a foothold and the three youngsters must travel the world so that the Avatar may master the other elements, in addition to his native airbending, in order to bring peace.

          Shyamalan discovered the show when his daughter dressed up as Katara for Halloween and was also attracted to the spiritual and martial arts influences in the story. Paramount and Nickelodeon Movies committed to spend $250 million over the course of a trilogy of films, one for each season, styled after successful fantasy franchises like The Lord Of The Rings and Harry Potter.

          Of course, the obvious challenge in translating the story for film is condensing 20 episodes of a series into a feature length version of the same beats, but the film ran into many more difficulties along the way.

          3D-bending and racebending

          Over the course of development and production, the budget of this first of three planned films ballooned to $150 million, including a $5-10m bump when Paramount announced they would convert the film into 3D, three months before its July 2010 release.

          The film ditched the prefix of the animated series to avoid confusion with James Cameron’s Avatar, which broke box office records in the early months of 2010, and also led to many of that year’s live-action tentpole movies being converted into 3D in post-production to ride the wave of audience interest, including Clash Of The Titans, Harry Potter And The Deathly Hallows Part 1 and, of course, The Last Airbender.

          Aside from adding to the budget, this reportedly led to half an hour being cut from the movie so that they could convert it in time for its US release date, before the lucrative Independence Day weekend.

          We don’t know if James Cameron has ever seen The Last Airbender, or if he was out to get this production in any way, but it just so happened that on the very same day as Paramount announced the conversion, he gave an interview to The Toronto Star, slating such post-3D jobs.

          Talking specifically about the seven week turnaround on the notoriously bad post-conversion job on Clash Of The Titans, he said: “You can slap a 3-D label on it and call it 3-D, but there’s no possible way that it can be done up to a standard that anybody would consider high enough.”

          Perhaps Cameron really was the Big Bad of this project, but it seems more likely that the filmmakers and studio bosses played the largest part in the film’s failure with critics and fans alike.

          There was also the controversial decision to cast white actors as Asian characters from the series, while casting Indian and Iranian actors as the antagonistic Fire Nation characters, which turned some fans against the film before it had even come out. A site called Racebending.com led the calls to boycott the movie, which was then backed by the Media Action Network for Asian Americans.

          Both the studio and Shyamalan were ardent that the film would still be very culturally diverse, with the latter going so far as to call the prospective trilogy “the most culturally diverse tentpole movies ever released, period.”

          Aside from all of this negative hype, the film didn’t do too badly at the box office. Unlike The Golden Compass, this isn’t one of those movies where poor box office returns fettled the trilogy as a whole. So, what was wrong with the film itself?

          As you know…

          It may well be that the studio wasn’t convinced that anybody would be fooled again, looking at how bad the first one turned out. It’s not just that they took liberties in adapting the story, or that the characters were the wrong race, or even that the 3D looked crummy – it’s just a trainwreck of a movie.

          For starters, it is absolutely deadpan. There’s not a bit of intentional humour in the whole thing. Yes, the characters are funny in the series, so that’s an example of something going bad in the adaptation, but then most films need a sense of humour of some kind. The style of this one should be all too familiar to those who endured Shyamalan’s previous work of unintentional hilarity, 2008’s The Happening, which would be a legitimate modern masterpiece of schlock if only anybody involved with it had been in on the joke.

          The unintentional hyuks are sparser in this one though, because they’re embedded in a film that leans on voiceover exposition from Katara (Nicole Peltz) for at least 50% of its story, filling in huge gaps in the narrative rather than trying to work around the limited feature running time. For instance, the first line from Aang (Noah Ringer) in the movie is to say that he’s not as upset as he was in some previous, unseen (presumably deleted, cos 3D) exchange.

          By ten minutes in, this approach probably leaves anyone who hasn’t already followed the series feeling utterly perplexed, and the script just keeps dropping dialogue bombs, clanger after clanger. A notable lowlight comes in this early sequence with the first acknowledgement of Appa, a flying magical creature who hibernated with Aang in the ice, who Katara introduces by explaining “His bison creature thing floats!”

          Much of this could be explained by the way the studio apparently cut the movie to get it ready for 3D in time, with ADR covering any resultant plotholes, except that it’s far too prevalent in the film to be just an unfortunate accident of post-production.

          Plus, aside from Katara’s ceaseless narration, Shyamalan’s script puts much of the pressure on The Daily Show’s Aasif Mandvi, who here plays the role of Senior Fire Nation Correspondent as Commander Zhao. Miscast as the arch-villain, Mandvi barely has a single line in the whole movie that isn’t explaining motivation or tactlessly dropping backstory bombs for the benefit of the audience.

          The film settles a little after the first hour, but whole subplots based around Sokka falling in love with a princess are still glossed over in narration while still playing a huge part in the finale. Of all of Shyamalan’s movies – nay, in all of cinema – this might be the definitive example of how not to do exposition.

          Against the elements

          The dialogue and storytelling hiccups in this script hardly make this unique amongst Shyamalan’s filmography, but it’s also clearly his most expensive and visually complex work to date, which brings its own challenges. Although the director had a very clear vision for the style of the film, it was Industrial Light and Magic who had to bring his storyboard book to life.

          This involved designing many new effects, or further developing relatively new visual tricks, like the film’s fire-bending, which was inspired by the effects in Harry Potter And The Half Blood Prince. This also required Shyamalan to direct up to sixty takes of some shots to ensure full coverage in scenes with moving elements and a moving camera.

          The effects house did a great job and the visuals are amongst the few redeeming features here, but as with so much of the film, it’s baffling how they could be integrated so atrociously. If a fireball hits anything or anyone in this movie, it doesn’t set it on fire. If a chorus line of villagers from the Earth kingdom perform an elaborate version of the haka, it only summons one piffling boulder to slowly hover towards their adversaries.

          And we hate to keep banging on about the first ten minutes, but the first time we see Sokka (Jackson Rathbone), he’s supposedly been sloshed with a ball of water that Katara was trying to bend, and complains “I always end up wet when you do that.” Rathbone has a hard job with the de-humoured Sokka anyway, made harder by the fact that he’s completely dry when he makes this statement.

          The net result is that the film has hugely impressive visual effects that have no weight in the story whatsoever. The same goes for the superb cinematography by the late great Andrew Lesnie, who brings a real thrill to seeing certain visuals from the series realised in live-action, but as mentioned, had his work converted into 3D after the fact. Even when it should be stunning to look at, it’s a let down.

          What went right?

          You can’t have many doubts left about what we think of this movie, but is it entirely irredeemable? Surely not – we hold that ILM and Lesnie each did a terrific job on the visuals, even if there was little grounding to do them full justice, but there are other minor highlights too.

          We’d also contend that actors Dev Patel and Shaun Toub come out of this with their heads held high. As recurring antagonists through the first season, Fire Nation exiles Prince Zuko and General Iroh are amongst the most interesting characters in the series as they try to capture the Avatar. As with other characters, much of Iroh’s beloved humour is gone in the adaptation, but that process leaves the more anti-heroic Zuko pretty much intact.

          The script still doesn’t give the actors much to work with – their one major dialogue scene ends with Zuko delivering the clanger “We will catch him soon, Uncle, then we can think about the pretty girls.” Nevertheless, Patel brings physicality and internal anguish to the young prince’s brooding personality and Toub, while playing a character who is now only required to lend some gravitas, delivers as this version of the character for all it’s worth.

          We’d also say that James Newton Howard’s score deserves the praise it got at the time, with reviews that were almost completely opposite of the film attached to it. In particular, the score that plays over the final battle between the Fire Nation and the Northern Water Tribe, called Flow Like Water on the soundtrack release, brings startling life into a film that’s otherwise dead on arrival.

          Aftermath

          As mentioned, despite the all but universal negative response to the film, it made $319 million worldwide. Factoring in the $130m advertising spend, it made more than its $280m negative cost back and although we couldn’t call that a mega-hit, there have been franchises have been built on shakier box office returns at the outset.

          The final sequel hook scene of the movie laid out all of the remaining loose ends and introduced the next big antagonist, Zuko’s sister Azula, but discussion of the sequels never seemed to go beyond the press junkets for the first one. Shyamalan evidently planned to make them and was as far along as a first draft for the second instalment, but it seems like someone got cold feet and it seems entirely possible that toxic word of mouth on the first film killed off any plans for a franchise.

          Five years down the line, on the publicity trail for his new TV series Wayward Pines, Shyamalan is still defending the film as it stands. In an interview with IGN, he stood by the way in which he resisted the urge to take the film above a PG rating and make it more mature.

          “My child was nine-years-old,” he explained. “So you could make it one of two ways. You could make it for that same audience, which is what I did — for nine and 10-year-olds — or you could do the Transformers version and have Megan Fox. I didn’t do that.”

          This could also be seen as a jab at Nickelodeon Movies’ subsequent success, last year’s PG-13 reboot of Teenage Mutant Ninja Turtles, starring – you guessed it – Megan Fox, but with all we’ve covered, it should be clear that the “it was for kids” excuse won’t cut it here.

          Certainly, Avatar: The Last Airbender is for kids. It’s bright and colourful and funny, with an involving storyline and a devoted fanbase that carried it over to a whole sequel series, The Legend Of Korra. At the same time, we’d recommend checking out the series to anybody, because in all that it holds for kids, it’s hugely endearing for older viewers too. None of that is true of the film version.

          To give credit where it’s due, at least Shyamalan is standing by the film rather than throwing a previous disappointment under the bus to sell his next project as better, as so many filmmakers do on the press circuit. But for all of the myriad reasons listed above, The Last Airbender went alarmingly and hilariously wrong on its way to the big screen. If there’s a great two hour movie to be made out of a season’s worth of story, maybe the reboot clock will eventually tick around to it again.

          Like

  18. For what it’s worth, I do consider The Sixth Sense a brilliant film. I actually just watched it again recently for the first time in several years, and I was impressed how the film still holds up after all these years. Lebeau is right in that the film doesn’t cheat to get to the surprise twist, the clues were planted there all along, though subtly. Unbreakable was a strong though flawed follow-up. After that, it was all downhill. Signs was a huge success, yet I walked out disappointed. Water? Really? And why are these aliens who are trying to kill us getting out of their spaceships and going house-to-house? Silly stuff. I consider myself lucky, because that’s where I stopped watching his films. From all that I’ve read about The Village, The Happening, After Earth, etc., I got out while the getting was good. Though I will admit, just for one minute, after The Sixth Sense, I did think just maybe he could be the next Spielberg. Turns out, not so much.

    Like

  19. I stumbled into the After Earth after party in Philly. It was at a bar I go to in a private room. Shyamalan films most of his films in the area. I remember asking a friend of mine- “Hey is THAT M.Night…??”

    I liked Unbreakable- too bad most of the audience was expecting the 7th Sense. Note that water was a weakness in that movie as well- M Night likes his water metaphors as much as Shakespeare in Anthony and Cleopatra.

    Like

  20. The Sixth Sense ending was mind blowing to me, and that´s why I still can´t get over the fact that that movie came before The Others, because Alejandro Amenabar movie is vastly superior.

    sigh

    If only I had watched The Others first…

    Like

    • I will admit to having had my mind blown by The Sixth Sense.

      I remember seeing it pre-hype. I was running late to the show and the person who sold me my ticket was in a hurry to get me into the theater. If I had stopped at the concession stand, I think they would have had a heart attack. Apparently, they were worried I would miss Willis getting shot. Which, if I had, would have lessened the entire experience.

      What I liked about The Sixth Sense was that it played pretty fair. The clues were there. Some people figured it out. That’s not a bad thing. That means the movie wasn’t cheating. I, like most people, was too involved in the story of this sad little boy to put two and two together. But afterwards, it all made sense. Mind blown.

      When it was in theaters, I used to have access to pop in and watch audiences reacting to movies. So if I was in a theater and Sixth Sense was showing, I always hopped in to watch the reaction to the big reveal. You could hear people gasping. Then there would always be at least one guy who didn’t know what was going on and had to turn to their significant other to have it explained to them. Weeks after the movie was released, it was still getting the same reaction. That’s why it became a cultural phenomenon.

      I do agree that The Others was a better movie that suffered because it followed in the footsteps of The Sixth Sense. On the other hand, if The Others had come out first, The Sixth Sense probably never would have been successful. Because they were released in this order, both movies enjoyed some success.

      Like

  21. So what the hell happened?

    …his ego did not help matters at all

    Why do I have a feeling that will become a running theme in this series? (See also; Coppola, Francis Ford and Cimino, Micheal)

    Like

    • I figure if you go into show biz without an ego, you are going to get eaten alive. You have to believe that you can make it against extremely long odds to keep at it long enough to succeed. So it’s only natural that all of these guys have egos. But then, when they do succeed, that ego is going to inflate. It’s just a matter of how they deal with it.

      In Shyamalan’s case, he didn’t handle it well. The man seemed to be completely consumed by his own ego. I will give him some credit. He clearly has some talent. But he is far from the creative genius he was hyped to be. He “borrowed” most of his famous twists from other works. And without the twists, he’s really just the guy who made Wide Awake.

      But Shyamalan so believed in his own image that he bristled at any and all criticism. He started casting himself in central roles in his own movies. Tarantino sometimes gives himself too big of a cameo. But it’s nothing compared to Shyamalan. The guy just radiates arrogance. Like I said, I expect that from a director. Especially a director as successful as Shyamalan was. But few directors manage to have such an over-inflated sense of their own self-importance as Shyamalan. And that says something given the sense of self-importance most directors have.

      Like

  22. I think Unbreakable is his best film. Sixth Sense doesn’t quite hold up post-hype. He unfortunately made himself into the twist guy. Lady in the Water is one of the worst films I’ve ever seen. Ever. So is Airbender. And I’m a huge fan of the show. And he botched it. Dropped every ball on that one. After Earth was even worse. It was an atrocity. Will Smith basically directed the film himself. M Knight was in charge of setting up shots, that’s it. Smith “coached” the terrible performance from his son, and put in his own equally terrible performance. Possibly his worst performance on screen.
    I don’t think there is any hope left for M Knight. He might be able to use his name to be a director for hire for a few more films like he was for After Earth. But that really exposed him as having no great eye in camera, or control over tone or pacing when he’s not doing the writing. This is one of the more interesting director flops, because it’s all of his own doing. He got to make exactly the movies he wanted, and got exposed.

    Like

    • Basically true. Airbender and After Earth proved he can’t put the same effort into other people’s material that he does into his own. In other words, Being a director-for-hire is never a real option for him. I suspect he’ll continue doing this until his movies start going direct to DVD. He more or less painted himself into a corner that it seems increasingly likely that he can’t get out of.

      Like

      • Nicola Peltz : Horrible actress. Gets roles because her BILLIONAIRE father buys them:
        http://www.imdb.com/name/nm2443758/board/flat/234762399?d=236797831#236797831

        Actually, a set designer from The Last Airbender (her first big budget role) has pretty much admitted that she was cast in that film as a favor to her dad. She was even (through no direct fault of her own) the main cause of the film’s white-washing:

        Production wrapped 5 years ago so I don’t think Paramount is going to care. They know it bombed.

        What it came down to was M Night really was the only one who knew the show and what he was doing (the first draft of the screenplay? Gorgeous. Hence Bryke giving him the okay). The producers, who are actually in charge of at least 80% of production including casting…. not so much. They clearly never bothered to watch the show, nor had the ghostwriter who did the final screenplay.

        Nicola was hired because she’s the daughter of someone one of the producers owed a favor to as Hollywood loves its nepotism. (Her audition tape was subpar at best). In having to cast her they had to cast a guy who could pass as her brother – hence Jackson. His audition was actually pretty good. He’s a funny guy and had clearly seen the show. Too bad the producers felt the movie didn’t have time for intentional humor and cut all that out of the script. Noah was the only one who honestly openly auditioned and was chosen based on talent. He just needed extra help acting because with a lot of it being green screened he was talking to air a lot of the time. Experienced adults have a hard time doing that let alone a kid.

        If you recall they initially signed on Jesse McCartney as Zuko. Why? Because otherwise the lead actor roster would be “starring: two unknown kids you never heard of and that guy who played a minor character in Twilight!”. And then someone with a brain realized “wait a minute this show is kind of anime-esque and we’re hiring a bunch of white kids. Um.”. So what did they do? Because they couldn’t can Nicola without someone being really ticked, Jesse willingly bowed out and went with another project offered at the time. Even still, they still needed a big name to draw people in but it couldn’t be another white kid. Dev Patel just gave an Oscar-winning performance and was willing to sign on. And in getting him they had to make the rest of the Fire Nation match. Which is why it turned into heroic white kids VS evil brown people (which was intentionally unintentional).

        And then it was horribly budgeted. The opening at the SWT all nice and pretty in Greenland? Cost big bucks. And then they realized with a story about people manipulating elements that couldn’t be believably done with in camera practical effects. So they had to rebudget and gave most of the money to ILM for post production. You go from the beautiful SWT to everything looking dingy because everything else was shot in Pennsylvania. The Fire Nation Royal Palace? An old high school in Philadelphia. Parts of the Earth Kingdom (including Kyoshi Island which got cut)? Reading, PA. And everything that was the NWT…. some sets built in front of giant green screens in an old emptied aircraft hangar in the outskirts of Philadelphia. Yeah.

        And ILM was rushed despite most of the movie’s look being left up to them. And you had novice directors hired by producers to oversee that process. That’s how come the pebble dance happened. Sadly at that point M Night was just tired of arguing with the overheads, gave up, and collected his paycheck. If you look at the movie’s premiere and red carpet footage you can tell his excitement and happiness is fake. Bryke had little say in the film despite being listed as executive producers. That title was a fancy way of saying that they created the show it was based on and they’re still alive so they need some kind of nice credit. The actual producers didn’t know what they were dealing with and were only interested in a quick buck. Bryke and M Night gave up on the film around the same time for same reasons. The other people working on the film were a pain to deal with and Nickelodeon themselves only wanted the final product as quickly as possible and the money it would presumably make them.

        At least they hired good caterers. The food was great on that set.

        Like

        • 11 Actors Who (Hopefully) Killed Their Careers In 2014:
          http://whatculture.com/film/11-actors-hopefully-killed-careers-2014.php/5

          1. Nicola Peltz

          In fairness, it’s difficult to deny that Nicola Peltz blew up the box office this year (or rather, Michael Bay and Mark Wahlberg did) with the $1.08 billion Transformers: Age of Extinction, making it the highest-grossing film of 2014 worldwide. Still, the movie was widely panned by critics (18%), and while Age of Extinction had plenty more problems than its acting, her performance was criticised by a large quarter of critics, who didn’t just long for the days of Megan Fox, but considered Peltz’s flat and uninteresting work as Razzie-worthy. Note that Peltz already has one Worst Supporting Actress Razzie nod for her risible work on The Last Airbender.

          Peltz did at least try something a little different a few weeks later with intriguing indie drama Affluenza, but any financial prospects were largely crippled by a super-limited theatrical run ahead of a muted VOD release, and poor reviews (20%).

          Like

  23. They actually compared him to Rod Sterling. The “creepy story with the surprize twist” is what made the “Twilight Zone” so great. But M. Night was only able to pull it off once in “The Sixth Sence”

    Like

  24. Dang…the moody girl from She’s all That. Wasn’t she an ‘it’ girl..? or the ‘this is your brain on drugs’ <>? what happened to her? (Who cares…?!)

    Like

    • Rachel Leigh Cook was an It Girl for like a minute.

      Like

      • Also, wasn’t Elisha Cuthbert an It Girl for 15 – 35 minutes? I guess that didn’t take either….sometimes when I reflect on the It Girls of the past few years, I kinda feel old. But then, imagine how a Former It Gurl might feel…”I was uh contenduh, but I got a ticket to Direct-to-DVD-ville.”

        Say, while this not new, it DOES have some relevance to the WTHHT concept, on yr blog and in the greater world in which we live:

        http://www.avclub.com/article/dispatches-from-direct-to-dvd-purgatory-the-manic–8286

        Like

      • Rachael Leigh Cook : What happened to her Career?

        http://www.imdb.com/name/nm0000337/board/flat/95828641?d=140495037#140495037

        She was successful with She’s All That but she needed another hit or two to “solidify” her box-office clout and wasn’t able to get one. Her A-list films that followed, Get Carter, Blow Dry and Josie and the Pussycats, all flopped and then she disappeared into indie films. She probably tried to gain credibility as an actress by appearing in indie films but it hurt her visability and therefore her chances for mainstream leading roles. Her last high-profile job was the lead in the Fox series Fearless but that was cancelled soon after it aired. Look at Lindsay Lohan, who also dived into indie roles after her hits Mean Girls and Herbie Fully Loaded in hopes to gain street “cred” as an actress but instead now is begging for any role she can get (it didn’t help that her erratic behavior didn’t exactly endear her to producers). I think she still has potential since she is still pretty young but probably needs to plug away at mainstream films, if at least in supporting roles, to try to get her visability back up again and avoid indies for now, so she can get back on people’s radars again.

        Like

  25. Did you leave The Village out of this write up for a reason?

    Like

  26. Good article. I was surprised you didn’t mention his recent claim to have written the script for ‘She’s All That.’ When that happened, I kept thinking, ‘Who would actually take the blame for that pile of crap?’

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Follow

Get every new post delivered to your Inbox.

Join 2,450 other followers

%d bloggers like this: