Acceptable encore to the ghost stories of the year previous, The Sixth Sense and Stir of Echoes. Fully equal to them in the voltage of the jolts, and even the overall number of them. Emptier of ideas, however; more mechanical in execution; but at the same time sleeker in surface and tonier in ambience, so that it gives the impression of making more fuss over less matter. In a word, it's more pretentious. In another word, it's Robert Zemeckis (Forrest Gump, Contact). The flaunting luxuriation in the Good Life -- the lakeside shingled house in Vermont, the classy color scheme of cool blues, the Hollywood A-list married couple (Michelle Pfeiffer, Harrison Ford, and chemistry be damned), the glamorous credentials of concert cellist and genetic researcher -- should give us renewed appreciation for the blue-collar settings of Stir of Echoes in toto and The Sixth Sense at least in part. The long-drawn-out ending (might as well say par-for-the-course ending) loses touch with the ghost for too long at a stretch, and for more than just one stretch. The jolts keep coming, but they are even emptier and more mechanical than before. Diana Scarwid, James Remar. (2000) — Duncan Shepherd
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