M. Night Shyamalan is the master of suspense and he knows it. "All the decisions are made in honor of the god of tension," he is quoted as saying in a recent Newsweek article. "Raising the tension over and over and never letting you up." Indeed, Shyamalan is the anti-Speilberg when it comes to language of cinema: Night knows what you expect and delivers the opposite. "Where you would normally cut, I don't cut so now you're not sure of the rhythm of the movie, which makes you feel uneasy. Or the camera is moving just six inches over the course of three minutes-- you're not sure why because you're not aware, but you're feeling more tense."

Unfortunately, when it comes to The Village, he also knows exactly what you expect and delivers, well, exactly what you expect-- the shocking, mind-blowing twist that has become Shamalyan's calling card. And his crutch. After all, just how shocking can a twist be when you know one's coming from the moment you read Written, produced, and directed by M. Night Shyamalan?

True to form, Shyamalan twists and re-twists his audience like a Mobius strip. Trouble is, each twist is more anticlimactic than the one the one that came before. The mind is baffled rather than blown.

The Sixth Sense was so effective because then-unknown Shyamalan blindsided his audience with the twist. The twists in both Signs and Unbreakable were organic to the plots. The Village reads like Shyamalan came up with the twist first and the movie second.

At this point, Shyamalan's taken his own style of writing as far as it can go. Next time he should have the courage to film a script written by someone else in order to spotlight his true talent: directing.

Moreso than any other American filmmaker, Shyamalan knows how to play with our expectations of cinema. Here's hoping that he learns how to play with our expectations of him.