‘The Village’ is being marketed incorrectly. I’m sure you’ve seen the trailers, yellow capes, red capes, monsters in the woods, “don’t let them in” – that sort of thing – and probably thought that this was a horror film. It’s not. In fact ‘The Village’ is a strange little film pitched somewhere between a period drama and the twilight zone and if you go see it expecting a horror film you will be disappointed. Let’s hope this review may spare you such disappointment because ‘The Village’ is not a bad film, it’s just a bit of a silly one.

Alright so that plot synopsis may sound like a horror film (though not a particularly good one) but I assure you it isn’t. In fact the most interesting elements of the story have nothing to do with monsters. The most engaging is the love story between Lucius Hunt (Joaquin Phoenix) and Ivy Walker (Bryce Dallas Howard). M. Night Shyamalan was inspired to write ‘The Village’ after being asked to direct a new version of ‘Wuthering Heights’ he declined the offer but after reading the book felt compelled to write his own period piece. The inspiration works hugely well in Ivy and Lucius’ romance which is sweet, funny, passionate, moving and above all believable. It is by far the best thing in the film and indeed if the film was sold as a romance there would no doubt be far less disappointment as the crowds file out of the multiplex. In fact as a period piece in general the film is very successful; creating a realistic tone and keeping a strong sense of humour (people did laugh in the 19th century) it is an interesting study of an isolated way of life. Unfortunately this is not the focus of the film.

As a mood piece the film does work very well and this is where Shyamalan‘s direction deserves credit. Roger Deakins cinematography is stunning working with a rich palette of autumnal hues to create a feeling of warmth, purity and security (one which is shattered by a later switch in styles). Colour plays a very important role in the plot (though one which is never satisfactorily resolved) and red (the bad colour) and yellow are used to great visual effect much like Shyamalan used red in the sixth sense. The village itself is a very real place which feels solid (though not convincingly self sufficient) Production Designer Tom Foden succeeding in making the village a concrete and authentic place full of attention to detail. The costumes are beautiful and subtle and the same can be said for hair and make-up. Even though they sound ridiculous ‘those we do not speak of’ are a masterful piece of design unlike any monster previously seen on screen and the red capes give them a particularly spooky fairytale quality. Generally this is a very well designed and shot film.

There is so much good in ‘The Village’ but it will always be outweighed by the contrived and questionable twist whish leaves an audience with nothing to talk about but plot holes. If you are very easily scared there are a few chills on offer and though the twist is very heavily signposted Shyamalan manages a few jumps and jolts before the final reveal, unfortunately they are entirely dissipated by the Scooby Doo ending. The film should leave you with questions about the nature of isolation, society and what you would be willing to sacrifice to ensure your family’s safety. Unfortunately what you’ll actually be left saying is “What?” and though there are few plot chasms I can point out without ruining the plot I can ask you whether you think sending blind people into densely wooded unfamiliar areas is a good idea or whether you would stand idly by as your only child laid dying despite being able to save him because of a promise you made. No? Me neither.

And I got through the whole thing without telling you that Bruce Willis is dead – oh hang on, wrong movie…