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Watching Signs (2002) and taking questions (df)
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Date: August 22nd, 2026 2:26 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) Fire as she bears. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085370) |
Date: August 22nd, 2026 2:27 PM Author: artificial intelligence Signs is a 180 movie. Do you know what the main plot really is? (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085372) |
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Date: August 22nd, 2026 2:32 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) It’s primarily a character study and it makes the audience uncomfortable and ask, what signs am I missing in my own life? What is it that’s right in front of me that I am allowing my ego’s tunnel vision to ignore? (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085382) |
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Date: August 22nd, 2026 2:44 PM Author: artificial intelligence I view it as a 180 Christian movie about purpose, despite it being directed by TT. I agree with your observation about the signs, which OFC are not the crop circles, I think it is just a bit incomplete. The main character is Joaquin Phoenix not Mel BTW. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085402) |
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Date: August 22nd, 2026 2:47 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) They both are. I think you have to be a dad and you have to have gone through a complete and total crisis to get Mel Graham’s coming around. Merrill’s is more of a sudden “a ha!” |
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Date: August 22nd, 2026 2:51 PM Author: artificial intelligence I’m a father but have not had a crisis so I’ll take your word for it. Mel is also a main character but I think Joaquin is THE sleeper main character. It’s a great Film and TT is underrated as a director. Mel is appropriately rated as the GOATUS director. I wonder what that set was like. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085408) |
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Date: August 22nd, 2026 2:54 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) Yeah it’s a total sleeper film. I feel like it was / has always been under-appreciated. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085410) |
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Date: August 22nd, 2026 2:56 PM Author: artificial intelligence You should watch Unbreakable (2000) next, it is also a GOATUS Film (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085413) |
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Date: August 22nd, 2026 2:33 PM Author: Covid was a Hoax crazy to think of mel as an a-list actor, instead of a director, prophet, and spiritual leader. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085383) |
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Date: August 22nd, 2026 2:48 PM Author: law teen motel diaries (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085407) |
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Date: August 22nd, 2026 2:51 PM Author: artificial intelligence (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085409) |
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Date: August 22nd, 2026 2:35 PM Author: Metaphysics is Goy This is a screen adaptation of the book When God Winks by Squire Rushnell (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085390) |
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Date: August 22nd, 2026 2:55 PM Author: artificial intelligence Isn’t that what me and disco are saying up there (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085412) |
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Date: August 22nd, 2026 3:02 PM Author: Metaphysics is Goy It is a screen adaptation of the book Push by Sapphire (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085415) |
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Date: August 22nd, 2026 3:04 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) First observation: I cannot watch this without thinking about Rory Culkin’s film with Josh Peck a couple years later. Mean Creek (2004). I think about the folly of youth and maybe one of the worst follies of all is not having the wisdom to interpret the signs, or the faith to follow them. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085418) |
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Date: August 22nd, 2026 3:10 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) Everything about this film is so well thought out and poignant. The baby monitor that “you can only use one-way,” you can receive, but you cannot transmit. The connection is stronger when you’re in physical contact with your family. The dogs seem to sense the predator in the yard. The one you cannot see or get a good clear picture of. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085419) |
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Date: August 22nd, 2026 4:24 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) Such a wonderful film. (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085524) |
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Date: August 22nd, 2026 4:52 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) https://www.youtube.com/watch?v=VaGY0DAnKok (http://www.autoadmit.com/thread.php?thread_id=5895977&forum_id=2)#50085578) |
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Date: August 22nd, 2026 5:18 PM Author: luke the drifter (definite and ineradicable gauge of its upward moving) The Greek philosophers conceived of two distinct experiences of time. Chronos is quantitative and linear: the engineer’s time of sequence, measurement, ticks, tocks, seasons, calendar pages, and the visible aging of a body from vigor to caution to frailty. Then there is Kairos: time that is qualitative, situational, and charged with consequence. It is the instant when opportunity becomes action, when the ship’s turn finally brings the target into sight, or when Odysseus’s arrow can pass through the eyes of the axes. Kairos is not simply dramatic timing; it is the moment when delivery, circumstance, and meaning converge. Storytelling, including film, depends so heavily on Chronos that we can forget how powerfully it is shaped by its rarer cousin. Signs (2002) brings Kairos back into view by making the audience feel, all at once, that scattered moments have been waiting for the right instant to become meaningful. For the viewer, Shyamalan creates an experiential Kairos. Signs appears to move through ordinary linear suspense — strange noises, crop circles, news reports, and escalating fear — but its real preparation happens inside the Hess home. The film trains the audience to dismiss domestic eccentricities as color or coincidence, then reveals them as the very conditions that make revelation possible. When the climax hits, the audience experiences a shared, sudden illumination. The payoff is not only a plot twist; it is a shift in how we perceive the film’s moral universe. Bo’s water glasses, Morgan’s asthma, Merrill’s swing, and Colleen’s final words are no longer isolated details. They become evidence in a pattern the viewer can only recognize after the moment has arrived. By aligning Graham’s spiritual awakening with the audience’s narrative realization, Shyamalan delivers a kairotic moment: a fleeting window in which craft, emotional catharsis, and belief briefly align. Whether one accepts the film’s theology or resists it, Signs makes the audience feel the temptation of meaning arriving exactly on time. Indeed, this moment of Kairos is so powerful, I would argue Signs (2002) shatters that Fourth Wall. It leaves us, pondering our own existence and interactions with the things and people around us. It rocks us right down to the id.
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