After the tumultuous events of the show’s fifth episode, M. Night Shyamalan, executive producer on FOX’s Wayward Pines (Thursdays, 9/8C), spoke with a group of journalists/bloggers about thosee revelations and why they were made. He also teased the second half of the season (as much as he could).
If you’ve been DVRing the show, you might want to not follow the jump. There are key revelations in the conversation.
If you’ve been watching Wayward Pines (FOX, Thursdays, 9/8C), you know what a leap the show took last week. If you haven’t been watching, you’re missing one weird and wonderfully odd show. What started off as some hybrid of The Prisoner and Twin Peaks suddenly became something else entirely.
With Wayward Pines pre-empted this week, FOX has released a ‘Five Episodes In Five Minutes’ video to refresh your memories (if you’ve been watching) and to give new viewers the chance to check the show out and be brought up to date before the next new episode on Thursday, June 25th. Check it out after the jump.
While on assignment to find two fellow Secret Service agents who have gone missing, Special Agent Ethan Burke wakes up in a forest of pine trees. He stumbles into the lovely town of Wayward Pines shortly thereafter. Then things go terribly awry.
From the Lost-ian opening shot to the Twin Peaks-like mountain town to echoes of The Prisoner’s prison, The Village, Wayward Pines has fun playing off expectations in unexpected ways – wearing its influences on its sleeve – but only on its sleeve.
M. Night Shyamalan, at his best, has given us twisty horror (The Sixth Sense) and possibly the best superhero origin story so far (Unbreakable). While his love of twist endings may have led to some (much) less successful movies, he has always produced films that weren’t pale imitations of what was already out there.
His new event series for FOX, Wayward Pines (Thursdays, 10/9C) – based on the novels by Blake Crouch (which I have not read – premieres tomorrow night and, while it might evoke echoes of The Prisoner or Twin Peaks, is a different animal completely. Recently Shyamalan spoke with a group of bloggers/journalist about the event series and why he decided to do it. He was completely charming (check out the wexchange with the moderator at the end of the call) and engaging throughout.
In its first ever global preview event, FOX is making the series premiere of M. Night Shyamalan’s Wayward Pines available for free via pay-TV providers FOX NOW and FOX.com, domestically, and Facebook worldwide on pay-tv providers FOX Play and International FOX.com pages.
The eerie series follows a Secret Service agent (Matt Dillon) as he tries to investigate the disappearance of two federal agents in the seemingly bucolic town of Wayward Pines, ID.
A Secret Service agent, looking for two agents who have gone missing, finds himself in Wayward Pines – seemingly a perfect small town. Perfect, that is, until he discovers he can’t leave – and receives an ominous phone call…
Wayward Pines stars Matt Dillon, Carla Gugino and Terrence Howard. It premiers on FOX on Thursday, May 14th (9/8C). Check out the twisted new trailer following the jump.
The story comes from Will Smith and he and his wife, Jada Pinkett Smith are among its producers – so there’s definitely the possibility that After Earth is some hybrid of vanity/ego project. While it’s not the greatest movie Smith has ever been in (see: Wild Wild West), neither is it the turkey that director M. Night Shyamalan’s last several movies have been.
What it is, is a sweet, middling-to-decent father/son, mentor/protégé story couched in sci-fi adventure trappings.
M. Night Shyamalan’s The Last Airbender was the big winner at 2011 Golden Raspberry Awards [The Razzies] – capturing Worst Picture, Worst Supporting Actor, Worst Eye-Gouging Misuse of 3D, Worst Director and Worst Screenplay. Runner-up Sex and the City 2 took Worst Actress, Worst Screen Couple/Ensemble and Worst Prequel, Remake, Rip-Off or Sequel.
Somehow, the egregious Grown Ups was overlooked in every category. The complete list of winners follows the jump.
The question is this: how does one adapt over four hundred minutes of story from twenty episodes of an excellent animated series into a one hundred-minute movie? The answer is, apparently, not very well. A slightly less pressing question might be: why did anyone think a hastily applied 3D conversion would help this muddled excuse for a fantasy epic in any conceivable way? That one I couldn’t tell you.
Any great mystery, espionage or horror movie lives or dies on its writer and director combining to provide suspense – the ominous shadow here, the piercing music sting there – while creating characters we can relate to and placing them in situations that leave them more and more unable to cope, or adapt, until some revelation… some idea… gives them the wherewithal to overcome their plight.
For about two-thirds of The Happening, writer/producer/director M. Night Shyamalan does exactly that. Beginning with the first intimations of something wrong beginning to happen in New York city’s Central Park, Shyamalan provides an almost Hitchcockian build of suspense as people begin killing themselves in numbers that suggest, at first, a terrorist attack.
The film follows a troubled couple, Elliot [Mark Wahlberg] and Alma [Zooey Deschanel] and the young daughter of a friend, Jess [Ashlynn Sanchez] – giving us a chance to see her with her father [John Leguizamo] before bad things separate them. As the behavioural problem mounts, and theories about the problem evolve, it seems certain that humanity is about to be removed from the face of the planet.
Even allowing for Shyamalan’s tendency to write dialogue that no one would ever really say, The Happening builds nicely. Tak Fujimoto’s cinematography and James Newton Howard’s score do work well to keep the audience on the edge of its seat. The problem arises when the third act has absolutely no surprises and the development of the attacks evolves precisely as it seemed it would – until…
Normally, that would be a good thing, but here, Shyamalan telegraphs the way the film plays in a rather clunky manner, so that the impact of some events are nearly nullified. Also, as a direct result of information imparted earlier, the film’s brief tag is also telegraphed, leaving us saying, “So?” On the other hand, The Happening is a huge improvement over Lady in the Water, so maybe Shyamalan’s career isn’t over just yet.