Critic's Grade: A+

The mystery surrounding the phenomena known as "crop circles" has long been the subject of various studies, hypotheses, theories, and above all, fascination. Even after various appearances of these inexplicable events were dismissed as hoaxes in the 50's and 60's, the question of whether or not elements of the supernatural were involved had already been planted in the minds of millions. And now, with "Signs," the captivation continues.

The film is written and directed by M. Night Shyamalan, who made a name for himself with his hit thriller "The Sixth Sense" and continued to prove his worth as a director with the not-so-widely-acclaimed "Unbreakable." With "Signs," he extends his abilities into untapped territories, incorporating elements of science fiction and faith into his usual brand of elusive intrigue and top-notch suspense. He handles the material with all the craftsmanship and skill of a great filmmaker, and uses precise caution in working his story into our minds and thought processes without our initial awareness.

The film introduces us to Father Graham Hess (Mel Gibson), a widower father of two who resents God for the death of his wife and has not practiced religion in over six months. His daughter, Bo (Abigail Breslin), constantly leaves half-full cups of water around the house, insisting each cup has a certain blemish, while his asthmatic son, Morgan (Rory Culkin), harbors a quiet resentment of his father's loss of faith. Graham's younger brother, Merrill (Joaquin Phoenix), lives in the guest house over the garage.

One morning, Graham and Merrill rush out into the cornfield towards the sounds of Bo's screams; at the center of the field they find a large, perfectly-shaped circle created by bending the stalks down over one another. Several of these circles make up what appears to be a symbol, something the police have no method of explaining, and something Graham has no way to comprehend. He dismisses it as a prank by local teenagers; later, after a scuffle with a shadowy figure on the roof, and a strange occurrence at night in the cornfield, he begins to question the nature of these events.

Shyamalan's usual trademarks have found a comfortable home here. The film utilizes small touches to reveal more about character and story: from a photo on a nightstand, to various dream sequences in the mind of Graham reverting back to the night of his wife's death, everything has a story to tell. Dialogue is also a key factor in bringing out more in-depth details and key twists, and Shyamalan seems to have found a niche in writing subtle comedy; there is a great deal of levity in seeing things like Graham's family wearing tin foil on their heads ("So the aliens can't read our minds," says Morgan).

In addition to his dabbling in humorous elements, Shyamalan also dives headfirst into the realm of science fiction in a way that proves one needn't need the silliness of "Independence Day" or the tactful seriousness of "Contact" to enjoy the material. He begins with small touches, starting with the initial reveals of various crop circles and news stories about various sightings; during these instances, there is still that certain level of suspicion concerning where the story is headed. Will it be a hoax, or something more? And then, he elevates the tension by introducing such things as invisible spaceships, and the broadcasting of a video clip of an alien spotted outside a children's birthday party. He uses suggestive tactics instead of bringing things into the open; in effect, what we don't see is far more thrilling, chilling, and exciting than what we do see.

All of this coalesces in a heart-pounding, fist-clenching climax that focuses on faith and spirituality, but not before giving us a well-scripted series of events taking place in the Hess house that channel the very spirit of Alfred Hitchcock's "The Birds." Of Shyamalan's three major films, this one's conclusion is bound to receive the most criticism, as it lacks the gutpunch surprise of "Sense" and "Unbreakable." But to look for a jaw-dropping combustion of the clues and previous elements is to miss out on the bigger picture: the ending to "Signs" is more uplifting than it is shocking, and it incites one to ponder its meaning more so than the previous two films.

I think the thing that Shyamalan has mastered most successfully in his films is his characterization. With this latest effort, we have such a deepened knowledge and understanding of the characters that the story is enhanced to a completely different level. Gibson's performance here is distant and fragile: he is a man haunted by his past, tormented by his indecision to make peace with God. His brother, in effect, is heartbroken over seeing the man he looks up to in such a state of disarray; Phoenix captures this brilliantly in one of his best performances. Child actors Culkin and Breslin show great potential for such young ages, and they are an asset to their director and elder costars. There is a wonderful sense of family and connection between the characters, the brotherly love between Graham and Merrill, the rivalry and embracement between Bo and Morgan, and their strong reliance on one another in early moments as well as in the more intense experiences.

Above all else, Shyamalan is a director who has mastered that most effective of all filmmaking tactics: he brings his audience into his films before they have a chance to realize the tightening of their fists, or the shortening of breath as they slide down in their seats. You don't just watch a movie like "Signs;" you experience it, you relish the suspense, you ponder the details, and you await in breathless anticipation for things to come. This is the director at the top of his game, combining his most effective elements with new trappings in fashioning one of the year's best films.

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