Following an unexpected tragedy, a child psychologist named Malcolm Crowe meets an nine year old boy named Cole Sear, who is hiding a dark secret.
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Credits: TheMovieDb.

Film Cast:

• Malcolm Crowe: Bruce Willis
• Cole Sear: Haley Joel Osment
• Lynn Sear: Toni Collette
• Anna Crowe: Olivia Williams
• Vincent Grey: Donnie Wahlberg
• Kyra Collins: Mischa Barton
• Tommy Tammisimo: Trevor Morgan
• Sean: Glenn Fitzgerald
• Stanley Cunningham: Bruce Norris
• Mrs. Collins: Angelica Page
• Mr. Collins: Greg Wood
• Dr. Hill: M. Night Shyamalan
• Darren: Peter Anthony Tambakis
• Bobby: Jeffrey Zubernis
• Bridesmaid: Lisa Summerour
• Young Woman Buying Ring: Samia Shoaib
• Kitchen Woman: Janis Dardaris
• Visitor #3: Sarah Ripard
• Visitor #5: KaDee Strickland
• Society Lady: Kate Kearney-Patch
• Hanged Child: Nico Woulard
• Hanged Male: Keith Woulard
• Shaken Driver: Patrick McDade
• Husband: Jose L. Rodriguez
• Young Man Buying Ring: Firdous Bamji
• Darren’s Mom: Hayden Saunier
• Visitor #2: Neill Hartley
• Visitor #4: Heidi Fischer
• Visitor #6: Michael J. Lyons
• Kyra’s Sister: Samantha Fitzpatrick
• Society Lady #1: Holly Cross Vagley
• Woman at Accident: Marilyn Shanok
• Hanged Woman: Carol Nielson
• Burnt Teacher: Jodi Dawson
• Gunshot Boy: Tony Michael Donnelly
• Secretary: Ronnie Lea
• Spanish Ghost on Tape (voice): Carlos Xavier Lopez
• Young Vincent: Gino Inverso
• Mrs. Sloan: Ellen Sheppard
• Anna’s Father: Tom McLaughlin
• Anna’s Mother: Candy Aston-Dennis
• Bride’s Friend (uncredited): Gina Allegro
• Restaurant Patron (uncredited): Bob Bowersox
• Man Crossing the Street (uncredited): Matt Casale
• Bride’s Maid (uncredited): Kym Cohen
• Tommy’s TV Mom (uncredited): Colleen June McQuaide
• Restaurant Patron (uncredited): Jonathan Nation
• Ghost in the Dungeon (uncredited): Sean Oliver
• Waitress (uncredited): Alison Robertson

Film Crew:

• Casting: Avy Kaufman
• Unit Production Manager: Sam Mercer
• Producer: Kathleen Kennedy
• Costume Design: Joanna Johnston
• Producer: Frank Marshall
• Original Music Composer: James Newton Howard
• Art Direction: Philip Messina
• Director of Photography: Tak Fujimoto
• Casting Associate: Julie Lichter
• Second Unit Director: Andrew Mondshein
• ADR Mixer: David Boulton
• Producer: Barry Mendel
• Set Decoration: Douglas A. Mowat
• Stunt Coordinator: Jeff Habberstad
• Writer: M. Night Shyamalan
• Production Design: Larry Fulton
• Studio Teachers: Carolyn Crimley
• Prosthetic Makeup Artist: Richard Alonzo
• Extras Casting: Diane Heery
• Key Grip: Billy Miller
• Key Hair Stylist: Francesca Paris
• Casting Associate: Beth Bowling
• Post Production Supervisor: Paul A. Levin
• Additional Photography: David Golia
• Production Coordinator: Stiles White
• Storyboard Artist: Brick Mason
• Camera Operator: Kyle Rudolph
• Stunts: Mick O’Rourke
• Orchestrator: Jeff Atmajian
• Assistant Director: John Rusk
• Stunt Double: Terry Jackson
• Electrician: William Louthe
• Second Assistant Director: Scott Robertson
• Chief Lighting Technician: Scott H. Ramsey
• Aerial Coordinator: Robert ‘Bobby Z’ Zajonc
• Effects Supervisor: John Rosengrant
• Costume Supervisor: Pamela Wise
• Thanks: Steve Briemer
• Dialect Coach: Francie Brown
• Construction Coordinator: Paul Williams
• Foley Artist: Marnie Moore
• Location Manager: Andrew L. Ullman
• Main Title Designer: Stephen Lawes
• Still Photographer: Ron Phillips
• ADR Editor: Kenton Jakub
• First Assistant Editor: John Scott Cook
• Hairstylist: Bunny Parker
• Assistant Chief Lighting Technician: Steven Litecky
• Dialogue Editor: David A. Cohen
• Makeup Artist: Michal Bigger
• Sound Effects Editor: E. Larry Oatfield
• Unit Publicist: Joe Everett
• Makeup Artist: Gerald Quist
• Assistant Property Master: Joseph Timothy Conway
• Special Effects Supervisor: Garry Elmendorf
• Foley Mixer: Ben Conrad
• Set Decoration Buyer: Christine Wick
• Property Master: Arthur Shippee
• Script Supervisor: Claire Cowperthwaite
• Supervising Sound Editor: Michael Kirchberger
• Assistant Editor: Anne O’Brien
• Assistant Art Director: Charles E. McCarry
• Music Editor: Thomas S. Drescher
• Visual Effects Producer: David McCullough
• Systems Administrators & Support: James Healy
• Generator Operator: Bill Fiedler
• Rigging Gaffer: Craig Ligget
• Digital Effects Supervisor: Tim Landry
• Driver: Richard Curry
• Conductor: Pete Anthony
• Second Second Assistant Director: Sonia Bhalla
• Sound Mixer: Allan Byer
• Boom Operator: Linda Murphy
• Scenic Artist: Greta Alexander
• Set Medic: Mary Berkelbach
• Transportation Co-Captain: John Tarlini Sr.
• Video Assist Operator: Christopher Murphy
• Production Accountant: Doug Moreno
• Security: Robert Biddle
• Music: Michael Fey
• Dolly Grip: Kurt Rimmel
• Additional Second Assistant Camera: Leon Sanginiti
• Best Boy Grip: Jon Sibert
• Greensman: James Breen
• Stand In: Joseph Barry
• Transportation Coordinator: John Morrone III
• Production Supervisor: Lynn Andrews
• Negative Cutter: Mo Henry
• Projection: Dan Carter
• Leadman: Tom West
• Sculptor: Dave Barnes
• First Assistant Camera: Emil Hampton
• Set Dressing Artist: Frank Grasso
• Carpenter: Jeff Zook
• Craft Service: Vince Digiacomo
• Post Production Assistant: Jae Stein-Grainger
• Color Timer: Dan Valliere
• Rigging Grip: James A. Casey
• Assistant Sound Editor: Jeremy Molod
• Foley Editor: David Franklin Bergad
• Production Assistant: Megan Fenerty
• Costumer: Nigel Boyd
• Payroll Accountant: Renee D. Czarapata
• First Assistant Accountant: Beverly Jusi
• Key Construction Grip: Duncan M. Spencer
• Second Assistant Camera: Daniel C. Cook
• Construction Grip: Christopher F. Graneto
• Shop Electric: I. Nate Scaglione
• Apprentice Sound Editor: Eric Dachs
• Foley Recordist: Grant Foerster
• Assistant Location Manager: Patricia Taggart
• Assistant Accountant: Virginia E. Beard
• Assistant Production Coordinator: Kirsten Turner

Movie Reviews:

• John Chard: The Sixth Sense phenomenon.

  Child psychiatrist Malcolm Crowe takes on the case of a deeply troubled boy named Cole Sear. At first Cole is reluctant to be helped, but as Malcolm gets closer to the boy, Malcolm learns the root of Cole’s fears, he claims he sees ghosts.

  The Sixth Sense was a monster hit back in 1999, a deftly crafted ghost story with a kicker that was talked about by all and sundry, the box office bulged and the critics did rave. Nowadays you will find hundreds of people proclaiming that the film is boringly formulaic, that they worked out the film’s premise easily in the first quarter of the film, or that the film is a mere cliché, funny how I don’t remember it like that back in 1999! The box office bulged because many went to see the film more than once, they went (myself included) back to see just how director M. Night Shyamalan (Academy Award Nominated Best Director) managed to bluff us and pull the rug from under our feet. I remember vividly both times I saw it in the cinema, the crucial turning point of the piece bringing a collective audible gasp from the viewers sunken in their respective seats, that’s the sort of impact that carries a film’s reputation far and wide, and that’s the reason why I will never rate the film lower than 10/10.

  Repeat viewings of The Sixth Sense obviously dim its star appeal because we know the tricks of the directors trade, but the film still ranks to me as one of the best of its type for so many other reasons rarely mentioned. The writing from Shyamalan (Academy Award Nominated Best Screenplay) is surprisingly complex, the piece masquerading as a horror picture is emotionally charged, linking children with the paranormal through loss and a need for understanding, the need for closure of unresolved differences, but chiefly and crucial to the film’s heart is the message of connection before it’s too late.

  The performances are incredible, Bruce Willis as Malcolm Crowe is perfectly understated, all the pointers for the denouement are there for us to see, but such is the actors performance, and we now know he is cutely having to play his cards close to his chest, are hidden from us until the revisit of the picture reveals it all. Hayley Joel Osment (Academy Award Nominated Best Supporting Actor) is wonderful, for a child performance in a film of this type to not be over sentimental, is quite an achievement. Sympathetic Cole may be, but Osment never lets it become less than the accepted level of child vulnerability. Rounding out the great trio of leads is Toni Collette (Academy Award Nominated Best Supporting Actress) as Cole’s mother, Lynn, fabulous in portraying the love and confusion in Cole’s troubled world, this story arc between the two is expertly realised. The direction from Shyamalan is very restrained, forgoing out and out shock value for periods of disquiet, he uses sounds to make the audience sense the unease unfolding in this creepy tale, while his camera work, full of draw ins and pull outs-and subtle side shifts, is adroitly in tone with the narrative. The score from James Newton Howard flits beautifully between the uneasy periods and the sustained moments of query, while Tak Fujimoto’s cinematography puts a gorgeous funereal texture over this part of Philadelphia.

  If you haven’t seen it then don’t believe the naysayers, because The Sixth Sense deserved every penny/cent it made, its a wonderful, creepy, and yes, at times, a beautiful picture. A film that still ranks as one of the best ghost stories ever crafted. 10/10

• Wuchak: _**Bruce Willis stars in Shyamalan’s supernatural drama/mystery**_

  A child psychologist (Bruce Willis) tries to help a boy (Haley Joel Osment) who has a unique problem (or gift) and is called a “freak” by his peers. Olivia Williams plays the wife of the therapist and Toni Collette the mother of the boy.

  Written & directed by M. Night Shyamalan, “The Sixth Sense” (1999) was his breakout film. It’s a slow-burn drama with paranormal elements. When my wife & I first saw it we didn’t know anything about the story except everyone was raving about it; and the ending really does elicit a ‘Wow’ response.

  Seeing it again, I was wondering if the movie works if you know the big reveal and it does. While the drama’s a little tedious, it’s refreshing compared to modern blockbusters with their idiotic explosions every five minutes. Furthermore, the film is aesthetically pleasing, which is helped by the unique locations (Philadelphia & areas nearby). Lastly, it is interesting to view the flick to see how Shyamalan was able to successfully hide the twist.

  The movie runs 1 hour, 47 minutes.

  GRADE: B

• AstroNoud: It is the final and greatest plottwist that puts a smile on your face, as all the puzzle pieces fit at last.

  9/10