the sixth sense 1999 movie review

The Sixth Sense

“The Sixth Sense” isn’t a thriller in the modern sense, but more of a ghost story of the sort that flourished years ago, when ordinary people glimpsed hidden dimensions. It has long been believed that children are better than adults at seeing ghosts; the barriers of skepticism and disbelief are not yet in place. In this film, a small boy solemnly tells his psychologist, “I see dead people. They want me to do things for them.” He seems to be correct.

The psychologist is Malcolm Crowe ( Bruce Willis ), who is shot one night in his home by an intruder, a man who had been his patient years earlier and believes he was wrongly treated. The man then turns the gun on himself. “The next fall,” as the subtitles tell us, we see Crowe mended in body but perhaps not in spirit, as he takes on a new case, a boy named Cole Sear ( Haley Joel Osment ) who exhibits some of the same problems as the patient who shot at him. Maybe this time he can get it right.

The film shows us things adults do not see. When Cole’s mother ( Toni Collette ) leaves the kitchen for just a second and comes back in the room, all of the doors and drawers are open. At school, he tells his teacher “they used to hang people here.” When the teacher wonders how Cole could possibly know things like that, he helpfully tells him, “when you were a boy they called you Stuttering Stanley.” It is Crowe’s task to reach this boy and heal him, if healing is indeed what he needs. Perhaps he is calling for help; he knows the Latin for “from out of the depths I cry into you, oh Lord!” Crowe doesn’t necessarily believe the boy’s stories, but Crowe himself is suffering, in part because his wife, once so close, now seems to be drifting into an affair and doesn’t seem to hear him when he talks to her. The boy tells him, “talk to her when she’s asleep. That’s when she’ll hear you.” Using an “as if” approach to therapy, Crowe asks Cole, “What do you think the dead people are trying to tell you?” This is an excellent question, seldom asked in ghost stories, where the heroes are usually so egocentric they think the ghosts have gone to all the trouble of appearing simply so they can see them. Cole has some ideas. Crowe wonders whether the ideas aren’t sound even if there aren’t really ghosts.

Bruce Willis often finds himself in fantasies and science fiction films. Perhaps he fits easily into them because he is so down to earth. He rarely seems ridiculous, even when everything else in the screen is absurd (see “ Armageddon “), because he never over-reaches; he usually plays his characters flat and matter of fact. Here there is a poignancy in his bewilderment. The film opens with the mayor presenting him with a citation, and that moment precisely marks the beginning of his professional decline. He goes down with a sort of doomed dignity.

Haley Joel Osment, his young co-star, is a very good actor in a film where his character possibly has more lines than anyone else. He’s in most of the scenes, and he has to act in them–this isn’t a role for a cute kid who can stand there and look solemn in reaction shots. There are fairly involved dialogue passages between Willis and Osment that require good timing, reactions and the ability to listen. Osment is more than equal to them. And although the tendency is to notice how good he is, not every adult actor can play heavy dramatic scenes with a kid and not seem to condescend (or, even worse, to be subtly coaching and leading him). Willis can. Those scenes give the movie its weight and make it as convincing as, under the circumstances, it can possibly be.

I have to admit I was blind-sided by the ending. The solution to many of the film’s puzzlements is right there in plain view, and the movie hasn’t cheated, but the very boldness of the storytelling carried me right past the crucial hints and right through to the end of the film, where everything takes on an intriguing new dimension. The film was written and directed by M. Night Shyamalan, whose previous film, “ Wide Awake ,” was also about a little boy with a supernatural touch; he mourned his dead grandfather, and demanded an explanation from God. I didn’t think that one worked. “The Sixth Sense” has a kind of calm, sneaky self-confidence that allows it to take us down a strange path, intriguingly.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Toni Collette as Lynn Sear
• Haley Joel Osment as Cole Sear
• Bruce Willis as Malcolm Crowe
• Olivia Williams as Anna Crowe
• Donnie Wahlberg as Vincent Gray

Written and Directed by

• N. Night Shyamalan

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‘the sixth sense’: thr’s 1999 review.

On Aug. 6, 1999, Buena Vista unveiled M. Night Shyamalan's breakout hit in theaters.

By Michael Rechtshaffen

Michael Rechtshaffen

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On Aug. 6, 1999, Buena Vista unveiled M. Night Shyamalan’s breakout hit The Sixth Sense in theaters. The film went on to be nominated for six Oscars at the 72nd Academy Awards, including best picture. The Hollywood Reporter’s original review is below: 

Alternatively chilly and chilling,  The Sixth Sense  is a psychological thriller that relies on the psychological as its primary scare tactic rather than CGI overload.

Summoning the spirit of  The Omen  and  Truly Madly Deeply , the picture is probably too quietly purposeful and deliberately paced (read: slow) for the cheap-thrills, fright-night set. But writer-director M. Night Shyamalan has an effective secret weapon in convincingly haunted young lead Haley Joel Osment, not to mention a nifty twist ending that packs a spooky wallop.

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An ideal release for Hollywood Pictures, which has been repositioned as Disney’s genre film division, the modestly budgeted effort, given the right kind of handling, could scare up sturdy theatrical business followed by healthy ancillary afterlife.

Bruce Willis, in low-key, quiet-guy mode, plays it close to the vest as Dr. Malcolm Crowe, respected child psychologist whose misdiagnosis of a former patient has had tragic repercussions. Searching for a little personal and professional redemption, Crowe is determined not to make the same mistakes twice when he takes on the case of Cole Sear (Osment), a troubled 8-year-old who has been harboring a dark secret — wherever he goes, he’s tormented by the restless ghosts of dead people.

Afraid to tell his concerned but worn-down mother (Toni Collette) about his unwelcome visitors, Cole ultimately opens up to Crowe. Crowe isn’t sure he’s going to be able to “cure” Cole but is willing to try, at the expense of shutting out his wife (Olivia Williams), who has begun to turn elsewhere for attention.

While Willis, Collette and Williams are fine, the film is handily stolen by 11-year-old Osment, probably best known as young Tom Hanks in Forrest Gump . His soulful, sad-eyed performance provides the film with an affecting emotional center that helps offset Shyamalan’s weakness for occasionally burdening scenes in weighty significance.

But his decision to delay bringing out the bogeyman until well into the story, allowing the unsettling mood to build fully, is a refreshing change from the usual slice ‘n’ dice assault on the senses. Although there’s sticky, New Agy-y subtext to some of the plot resolutions, it’s nice to see old-fashioned storytelling and staging serving as the picture’s most potent special effects.

Also contributing to the unsettling vibe is Tak Fujimoto’s ( The Silence of the Lambs ) cinematography, which playfully summons the spirit of  Rosemary’s Baby  and Larry Fulton’s just-slightly-off production design. —  Michael Rechtshaffen, originally published on Aug. 2, 1999.

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August 6, 1999 FILM REVIEW 'The Sixth Sense': A Boy Who Sees the Dead, and a Psychologist Determined Not to Fail Him Related Articles The New York Times on the Web: Current Film Video Video: Selected Scenes and Trailer From the Film 'The Sixth Sense' Forum Join a Discussion on Current Film By STEPHEN HOLDEN nd this year's "Touched by an Angel" award for gaggingly mawkish supernatural kitsch goes to Bruce Willis' newest film, "The Sixth Sense." The star, who plays Dr. Malcolm Crowe, a gifted child psychologist in Philadelphia, also earns the Robin Williams-manque award for ineffable, twinkling, half-smiling misty-eyed empathy with adorable tots. But since Willis has only one basic facial expression in all his films, it isn't his icky smirk that telegraphs the doctor's extra-special sensitivity. (Willis wears exactly the same smirk when he's about to shoot someone in the face.) No, it is the movie's treacly soundtrack by James Newton Howard, the Hollywood maestro du jour for smearing on goo whenever it's time to clench back tears. In its first hour, "The Sixth Sense," which was written and directed by M. Night Shyamalan, half-heartedly poses as a horror film about to erupt into gore. Its opening scene finds the doctor and his wife, Anna (Olivia Williams), tipsily celebrating his award from the city of Philadelphia for outstanding something-or-other. As the Crowes, flushed from imbibing a $100 bottle of wine, are about to tumble into bed, they discover an intruder in their bathroom. The uninvited guest turns out to be Vincent Gray (Donnie Wahlberg), a former child patient of the doctor's, now grown up and in full maniacal froth. "You failed me!" he screams and pulls out a gun and shoots the doctor in the stomach before turning the weapon on himself. We jump ahead several months. The doctor has apparently recovered from his wounds, but his spirit is broken. Still haunted by his "failure," he takes on a new patient, Cole Sear (Haley Joel Osment), a waifish 9-year-old boy who lives with his divorced mother, Lynn (Toni Collette), and whose severe psychological problems are uncannily reminiscent of the young Vincent Gray's. This time, the doctor vows to himself, he won't fail his patient. And after much game-playing and hanging out with Cole (the doctor seems to have nothing better to do all day than follow Cole around, smirking empathetically), the boy reveals his secret. He claims he can see the dead. And every so often, the movie gives us creepy little glimpses of the corpse-strewn world as it appears through Cole's tormented vision. At first, the doctor doesn't believe the boy. But then, well, let's not take the story any further lest its colossally sentimental payoff be compromised. Because it unfolds like a garish hybrid of "Simon Birch" and "What Dreams May Come," with some horror-movie touches thrown in to keep us from nodding off, "The Sixth Sense" appears to have been concocted at exactly the moment Hollywood was betting on supernatural schmaltz. For Willis, the movie continues the unpromising track he took with "Mercury Rising," in which his character goes through hell to save the life of an autistic child. For Shyamalan, "The Sixth Sense" is a slight improvement over last year's "Wide Awake." But that isn't saying much. That insufferably coy drama of another wee Philadelphian searching for proof of God's existence barely registered at the box office. The Willis name should insure that "The Sixth Sense" stays around a little bit longer. PRODUCTION NOTES 'THE SIXTH SENSE' is rated PG-13 (Parents strongly cautioned). It includes images of dead bodies and a fantasy of a woman's suicide. 'THE SIXTH SENSE' Written and directed by M. Night Shyamalan; director of photography, Tak Fujimoto; edited by Andrew Mondshein; music by James Newton Howard; production designer, Larry Fulton; produced by Frank Marshall, Kathleen Kennedy and Barry Mendel; released by Hollywood Pictures/Spyglass Entertainment. Running time: 107 minutes. WITH: Bruce Willis (Malcolm Crowe), Haley Joel Osment (Cole Sear), Toni Collette (Lynn Sear), Olivia Williams (Anna Crowe), Trevor Morgan (Tommy Tammisimo) and Donnie Wahlberg (Vincent Gray).

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The Sixth Sense Reviews

A film that left an indelible footprint on the popular culture, a film that remains one of my favorite titles of the 1990s in any genre...

Full Review | Aug 9, 2024

The film’s an extended exercise in flattering the fooled viewer for being a viewer and for being fooled.

Full Review | Aug 5, 2024

This is popcorn cinema at its most purely empathetic – a horror film where the true horror is in not being seen, heard or understood by those around us, especially the people we love.

Full Review | Original Score: 5/5 | Aug 3, 2024

It is fitting that Shyamalan – the man who revers Spielberg, who filmed homages of his films in the backyard – made a ghost story that feels almost Spielbergian. Its child perspective means The Sixth Sense contains a sense of wonder

Full Review | Original Score: 5/5 | Jul 25, 2024

A breakout hit for all parties involved for good reason. Still manages to be effective and engaging no matter how long you've known the ending, especially thanks to Osment's tortured performance.

Full Review | Original Score: 5/5 | Sep 20, 2023

Intelligent and poignant; this is a unique kind of ghost story. The human kind.

Full Review | Nov 12, 2021

One of the rare horror films to earn an Oscar nomination for Best Picture, it remain a personal best for the director.

Full Review | Oct 15, 2021

Haley Joel Osment gives one of the best child performances ever, while director/writer M. Night Shyamalan rewards us with one of the best twists of all time. [Full review in Spanish]

Full Review | Original Score: 4/5 | Mar 10, 2021

Boasts a startling twist ending - a trope that isn't a stranger to the genre, but one that writer/director M. Night Shyamalan uses perfectly.

Full Review | Original Score: 10/10 | Sep 24, 2020

The Sixth Sense has most importantly been reminding us of how powerful children can be as forces of knowledge, awareness, and healing, if only adults would actually listen to them.

Full Review | Original Score: 5/5 | May 24, 2020

The end is just the icing on a perfectly designed and cooked cake. [Full Review in Spanish]

Full Review | Apr 17, 2020

At root, his films are patient vindications of crazy faiths, of ghosts and comic book heroes. Loneliness is his theme, and when blessed with courageous performers, as in The Sixth Sense, he can take us just about anywhere.

Full Review | Mar 16, 2020

It's simply one of the most affecting, deeply human ghost stories ever made.

Full Review | Jan 20, 2020

Anyone wanting a truly good scare, mixed with the sort of heartfelt character investment that makes the plot that much more enthralling, will never be disappointed with The Sixth Sense

Full Review | Jun 20, 2019

It's more than just a killer trick: The Sixth Sense holds up because of Bruce Willis's mournful performance as Dr. Malcolm Crowe.

Full Review | Mar 26, 2019

One of Hollywood's most accomplished genre films of the last 20 years.

Full Review | Original Score: 4/5 | Dec 16, 2018

Shyamalan remains unable to wholeheartedly capture the viewer's interest for the duration of the movie's slightly overlong running time.

Full Review | Original Score: 2.5/4 | Jan 23, 2017

Shyamalan's best film where he knew how to trick us with the history of a boy who sees dead people. It has one of the best endings I've seen in the genre. [Full review in Spanish]

Full Review | Oct 31, 2016

You leave slightly asquirm. You know it will linger. It becomes a clammy, chilly movie building toward a revelation that you cannot predict. As I say: I cannot tell you. You'd hate me if I did. I can only say, don't look now, but look sometime.

Full Review | Oct 7, 2014

Beyond these startling apparitions, there's a surplus of mumbo-jumbo in here -- and some ludicrously false notes.

• Cast & crew
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Metacritic reviews

The sixth sense.

• 80 L.A. Weekly John Patterson L.A. Weekly John Patterson Writer-director M. Night Shyamalan lets the tension rise slowly, leads you everywhere you don't expect, doesn't rip you off and totally freaks you out -- all without stale effects or gore.
• 80 Film.com Tom Keogh Film.com Tom Keogh Chalk this film up as an unusually intelligent thriller about that which scares us the most: accepting our accidents of fate.
• 80 Film.com Peter Brunette Film.com Peter Brunette It's far more loquacious and cerebral than your average run-of-the-mill thriller, but boy, when the relatively infrequent scares do come, they will pull you out of your seat and raise the hair on your arms.
• 75 San Francisco Examiner Wesley Morris San Francisco Examiner Wesley Morris Ultimately affecting mix 'n' match weeper.
• 75 Portland Oregonian Diana Abu-Jaber Portland Oregonian Diana Abu-Jaber Sometimes verges on silliness.
• 70 Slate David Edelstein Slate David Edelstein Ultimately, it has less in common with "Blair Witch" than with such quivering lumps of sentiment as "Ghost" and Field of Dreams."
• 60 Variety Todd McCarthy Variety Todd McCarthy Borderline dull to sit through, The Sixth Sense is actually rather interesting to think about afterward because of the revelation of its ending.
• 50 Village Voice Michael Atkinson Village Voice Michael Atkinson Complain all you want about Willis's posturing and the rabbit-in-the-hat ending (predicated as it is on a vast plothole), the film is still a rarity, a studio horror movie focused on a child's traumatic stress.
• 50 The Globe and Mail (Toronto) The Globe and Mail (Toronto) At least tries to disturb us, rather than shock us or gross us out, and that is admirable. But it doesn't pull it off, and the movie is indicative of the trouble Hollywood has these days making that most frightening kind of movie -- the kind that lets the audience frighten itself.
• 30 Salon Charles Taylor Salon Charles Taylor Because the movie never fully engages us, it never quite manages to allay our queasiness about watching the boy's distress.
• See all 35 reviews on Metacritic.com
• See all external reviews for The Sixth Sense

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The Sixth Sense (1999)

A ubiquitous tagline and a mind-bending climactic twist made M. Night Shyamalan’s breakout hit The Sixth Sense a monster sensation — yet this deliberately paced, psychologically sensitive paranormal thriller is much more than a one-trick puzzle movie, and holds up well to multiple viewings.

Artistic/Entertainment Value

Moral/spiritual value, age appropriateness, mpaa rating, caveat spectator.

Redemption, self-understanding, catharsis, and coming to terms with life and death are all deftly woven into a moving character study that makes confident use of cinematic conventions even as it turns them upside down.

Consider the bold prologue, which finds child psychiatrist Dr. Malcolm Crowe (Bruce Willis in an effectively muted performance) dramatically confronted with a tragic failure in his past practice. When the story resumes one year later and we see Crowe involved with a troubled young boy (10-year-old Haley Joel Osment in a star-making virtuoso turn) with familiar issues and symptoms, it’s clear from the prologue that Crowe has lost confidence in his ability to make a difference and hopes to redeem himself by helping Cole. It’s a familiar device, yet Shyamalan invests it with far more than the typical motivational significance.

Despite the unsettling ambiance and moments of real fright and horror, The Sixth Sense is fundamentally a story of three relationships. Cole’s single working mother (Toni Collette) is worried about her sensitive, unusual little boy, whose secretive unhappiness and odd behavior may be only the usual (bullies, adjustment issues) but may be something more. Crowe tries to earn Cole’s trust and understand his problems, while at the same time being sadly, ineffectually aware of what seems to be a growing rift between himself and his wife (Olivia Williams).

A few points are sketchier than they should have been. A couple of fleeting lines ("Even the scary ones"; "They only see what they want to see") gesture at ground rules that should have been more clearly established. Yet the film’s logic holds both emotionally and narratively, and Shyamalan brings satisfying closure to all of his characters and their sorrows.

Lady in the Water (2006)

Why, I haven’t come across a fairy-tale premise calling for such childlike wonder and acceptance since the taxation of trade routes was in dispute and the greedy Trade Federation set up a blockade around the planet Naboo.

The Village (2004)

With The Village, Shyamalan has gone to the well once too often. Whether or not you see the anti-climactic twists coming is almost beside the point. For the first time, Shyamalan has created a puzzle movie populated by characters we can’t identify with, living in a world we can’t relate to. The viewer has no stake in this story; he comes to the Village a stranger in a strange land, and remains so through the course of the film.

Signs (2002)

Signs has the heart that was lacking in Unbreakable , but stumbles badly in its treatment of the paranormal, in this case the world of "X-Files" / "Twilight Zone" sci-fi. Glaring practical problems increasingly sap the movie’s plausibility, until eventually suspension of disbelief becomes possible only by not thinking about it.

Unbreakable (2000)

Such “hope” as Shyamalan has to offer is less persuasive and less memorable than the fears and horrors he conjures; the overall impression created by his film is an ultimately dehumanizing, depressing one.

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The Sixth Sense (1999) review by That Film Guy

October 4, 2012 by That Film Guy Leave a Comment

Horror films and the Oscars don’t really go hand-in-hand, which may explain why, as of 2012, only four of the genre have ever been nominated in the Best Film category. One of those is M. Night Shyamalan’s The Sixth Sense . Released in 1999, The Sixth Sense became an unexpected commercial smash hit recouping over $670m at the box office from its budget of $40m. It earnt an Oscar nomination for child actor Haley Joel Osment and Toni Collette and launched the career of M. Night Shyamalan.

Dr. Malcolm Crowe (Bruce Willis) is a child psychologist from Philadelphia who on the way home from an awards ceremony with his wife Anna (Olivia Williams) discovers an ex-patient (Donnie Wahlberg) has broken in who blames Malcolm for not helping him and shoots him. The following fall Malcolm and his wife are still living together, but do not communicate with each other and so Malcolm throws every waking moment into trying to help a young boy called Cole Sear (Osment) who has a similar condition to the shooter. After a few sessions Cole reveals that he is scared because he sees the ghosts of dead people everywhere he goes.

The journey of The Sixth Sense to the screen was something of a troubled production. The script originally bought by the then head of Disney David Vogel for $2m led in part to his removal from his position and due to a lack of faith in the idea saw it sold to Spyglass Entertainment. However it was eventually made with writer M. Night Shyamalan given the responsibility of directing.

Combining all the dullest colours onto the films pallet gives a creepy and almost supernatural tinge to proceedings and the brief glimpses of red help Shyamalan show the moments when the real world is touched by the supernatural. But when people think of The Sixth Sense , it is the twist that is the most memorable thing, being that it caught so many people by surprise. Yet when watched again, there are clear hints of an upcoming revelation with the camera slowly zooming in on Bruce Willis’ face during the most famous scene as well as Cole teaching Malcolm how to tell a story “you should include twists.” Like all the best twists, The Sixth Sense provides you with enough information, but not so much that it’s obvious.

A combination of superb performances, detailed direction and one of the best twists in all of film help to establish The Sixth Sense as a true modern horror classic. The line I see dead people has firmly positioned itself in the lexicon of horror phrases and is as memorable today as it was on release.

Thomas Patrick

The Sixth Sense: Ranked 19th in All Time Horrors

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The Sixth Sense (1999): Film Review

• Daniel Allen
• February 10, 2023

Bruce Willis and Haley Joel Osment star in The Sixth Sense, a chilling and moving modern ghost story that marked the arrival of M. Night Shyamalan.

The Sixth Sense  was a phenomenon upon its release . A surprising one as well: even though it featured Bruce Willis, the film was made by a then-unknown named M. Night Shyamalan. Yet it became the second-biggest release of 1999, earning six Oscar nominations and launching its director to stardom. Shyamalan had previously made two films: Praying with Anger (which he wrote, directed, produced and starred in) and  Wide Awake , which was buried by Miramax after struggles over creative control. But in a way,  The Sixth Sense  is the first true Shyamalan feature. And what a feature it is. A brilliant psychological thriller that quickly turns into a moving supernatural thriller with one of the most iconic plot twists in movie history.

Malcolm Crowe (Willis) is a dedicated and decorated child psychologist living in South Philadelphia with his loving wife, Anna (Olivia Williams). One night, they find Vincent (Donnie Wahlberg), a former patient of Malcolm’s who has broken into their home. Believing the psychologist failed him as a kid, Vincent shoots Malcolm. The next fall, Malcolm has survived but has lost a part of himself, whilst Anna has become silent and withdrawn. It is as if she is still haunted by what happened. Meanwhile, Malcolm has started seeing Cole (Haley Joel Osment), a nine-year-old boy who lives with his single mother Lynn (Toni Collette).

Cole is a curious boy who collects Christian figurines and has a toy soldier who speaks Latin. However, as Malcolm says, he and Vincent are “both so similar. Same mannerisms, same expressions, same things hanging over their head.” Like Vincent, Cole is quiet, has divorced parents and may have a mood disorder. And something is clearly troubling or harming Cole – as evidenced by the fresh scars on his wrist. Yet, despite Malcolm wanting to help, the boy doesn’t think he can. Furthermore, he doesn’t want his mother to know anything. Eventually, he tells Malcolm his deep secret: “I see dead people.”

With those four famous words,  The Sixth Sense  unveils itself to be a 20th-century ghost story . This supernatural element is only revealed 50 minutes into the film. Before, it could easily be about Cole’s behaviour or any other logical explanation. Doctors wonder if he is being abused, possibly by his mother. But once Cole reveals to Malcolm that he can see the dead, the second half shows the ghosts and the scary visions he experiences. We also witness the strain it puts on his relationship with his mother, such as when she confronts him over a bumblebee pendant that has gone missing from her drawer.

Shyamalan would be criticised later in his career for his odd writing, but his script here is a perfect example of misdirection . The way he frames the story and the interactions characters have with each other are subtle enough on a first watch but clever and obvious on subsequent viewings. He also manages to get the best out of every actor. Bruce Willis would appear in two (technically three) more of Shyamalan’s films, and it is clear how compatible the pair were. Willis’ turn is soft and assuring, imparting sympathy onto Cole whilst expressing regret over how he handled Vincent’s case. Maybe if he can help Cole, he can right that wrong.

Years before  Hereditary , Toni Collette is superb as a mother increasingly worried about her child. And Olivia Williams is brilliant in her relatively small part as the detached and sombre Anna. She has alienated herself from her husband, not even making eye contact with Malcolm during a scene set at a restaurant. She has also started to take anti-depressants and rewatch her old wedding videos. Once Shyamalan reveals the reason for all this, her performance takes on a sense of poignancy. Anna and Malcolm’s lost love is a crucial facet of  The Sixth Sense,  and Williams’ performance demonstrates it flawlessly.

But the most important performer is Haley Joel Osment , since Cole is the film’s central viewpoint. Just ten years old during filming, Osment gives perhaps one of the best child performances of all time . He is so natural and sensitive, full of depth and a keen awareness of the rest of the cast (especially Willis and Collette). He can also be heartrending, such as when Cole is locked in a closet by bullies. Or the ‘I see dead people’ scene, with Osment teary-eyed in terror. Or the scene where Cole reveals his gift to his mother using secrets from her past, his well-written monologue matched by Collette’s stunning acting as Lynn goes from sceptical to emotional.

The camerawork by Tak Fujimoto ( The Silence of the Lambs ) is gorgeous and shadowy, making much use of Shyamalan’s expert framing and camera blocking. Plus, the music by James Newton Howard adds to the chilling, mysterious effect that the director wants to create. Then there is the doozy of a plot twist, so prevalent in pop culture that it is easy to find it out by accident. Without spoiling it, the twist is not just brilliant because it completely changes how to view the film we just saw. It is because it is attached to a powerful scene featuring Anna and Malcolm, their love and his need to help someone suffering.

It is fitting that Shyamalan – the man who revers Spielberg, who filmed homages of his films in the backyard – made a ghost story that feels almost Spielbergian . Its child perspective means  The Sixth Sense  contains a sense of wonder, particularly by the climax. Yet it is also a film about communicating with the living and the dead – about understanding and sympathising and helping people to cope (thanks to Malcolm, Cole goes from fearing these ghosts to helping them). The result is an exceptional film, a chilling and emotional psychological thriller with a patiently built story that has not lost its impact.

The Sixth Sense is now available to watch on digital and on demand . Read our reviews of M.Night Shyamalan’s Trap , Knock at the Cabin , Old , Split , Glass , The Visit , and The Last Airbender .

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The Sixth Sense Review

05 Nov 1999

Sixth Sense, The

The pre-millennial obsession with life beyond the grave and the worse things that might be waiting there continues in The Sixth Sense, which exists in its own generic twilight zone, somewhere between horror movie and soap opera.

After Color Of Night (1994) and Mercury Rising (1998), expectations for anything with Bruce Willis as a therapist or helping a kid are dismal, but this is one of the rare films that actually engages him as an actor and shows how subtle and affecting he can be if he cans the smirk and plays it straight. Operating at the other end of the budget spectrum from The Blair Witch Project, this nevertheless also goes for creepiness and suggestion rather than blowing it all on CGI ghosts a la The Haunting, and reaps a fine harvest of chills, along with a few jump-out-of-your-seat shocks.

The plot is a cross between Little Man Tate and Jacob's Ladder: in grey and gloomy but history-drenched Philadelphia, child psychologist Malcolm Crowe (Willis), shaken out of his complacency after a violent home invasion by an ex-patient, tries desperately to help school misfit, Cole Sear (Osment), who has disconcerting psychic and telekinetic flashes. Cole, who is desperately trying to keep his strangeness secret from his struggling single mom (Collette), eventually confesses up to Malcolm that his real special ability is that he can see the spirits of the dead. In trying to get his attention, the ghosts leave scratches on the child's body, which naturally means the authorities suspect someone in his life of child abuse. At the heart of the film is a truly terrifying idea, and director-writer Shyamalan - abetted by a brilliant performance from kid actor Haley Joel Osment, fully deserving of one of those special child-sized Oscars they don't give anymore - manages to visualise it perfectly.

You wouldn't think it, but after decades of eyeball-skewering zombies and acid-blooded aliens, you can still be scared by a pale girl under a bed, a fading sweaty hand-print, a sudden frosty breath or a couple of childish admissions (crucial scare line: all . . . the . . . time.). This ghost stuff works on a deeper level than the gross-out, and it's nice that Hollywood has rediscovered the art of the soul-freezing scare. Like the underrated Paperhouse, this knows when to stow the horror and domesticate its terrors, eventually revealing that the ghosts don't just want to say, Boo! and that Cole's gift actually has a purpose.

Then there's the ending, which pays off with one of those revelations that make you mentally unpick everything you've seen (remember The Usual Suspects or No Way Out?). And even if you see through it, this is still an extraordinarily creepy and thoughtful spook show.

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Sixth Sense, The (United States, 1999)

With his third feature effort, writer/director M. Night Shyamalan has taken a huge step in the wrong direction. After showing great strides of maturity between his ineffective debut, Praying with Anger , and 1998's appealing Wide Awake , Shyamalan has backslided alarmingly with The Sixth Sense . While this picture shares many qualities with Wide Awake (a child protagonist, a central spiritual theme, and being set in Shyamalan's home city of Philadelphia), it's an inferior product. It is not well written, well acted, or well directed.

Malcolm Crowe (Bruce Willis) is a revered psychologist who has just earned an award from the mayor for his efforts with children. On the night that Crowe and his wife, Anna (Olivia Williams), are celebrating his triumph, they arrive home to find an intruder in their bathroom. He is Vincent Gray (Donnie Wahlberg), one of Crowe's few failures. After rambling about Crowe's faults as a psychiatrist and asking "Do you know why you're afraid when you're alone?", he brandishes a gun, then shoots himself and his doctor.

Cut to "Next Fall." Crowe has recovered from his wounds physically but not emotionally. A gulf has developed between him and his wife. The once-loving couple hardly talks and he suspects that she's having an affair. As a means to assuage his guilt, Crowe begins to work with 9-year old Cole Sear (Haley Joel Osment), a boy who shows similar problems to those displayed by Vincent Gray at that age. Crowe is determined to accomplish for Cole what he could not do for his former patient. But the task he has set for himself is not an easy one. Cole sees and hears things that others cannot, and he is afraid to open up to his mother, Lynn (Toni Collette), for fear that she will think he's a freak.

Some interesting things happen during the final half-hour of The Sixth Sense , including a clever (albeit entirely predictable) twist at the very end. Unfortunately, to get to that point, it's necessary to endure 75 minutes of some of the most dull, turgidly paced film making this side of Meet Joe Black . This movie plods along, daring viewers to remain awake. I had to employ all of my usual tricks to keep from falling asleep. Alas, one critic at the screening wasn't as lucky; her snores could be heard throughout the theater.

This is not a strong or effectively executed screenplay. There's no sense of subtlety. The dialogue is stilted. The characters say and do things only because the plot makes certain demands of them. With the exception of Cole, no character has more dimensions than a sheet of paper. And there's a lack of internal consistency and logic; the movie doesn't even play by its own rules. Perhaps another draft (or a complete re-write) of the script would have attenuated the amplitude of the flaws. There are some interesting ideas in The Sixth Sense - especially the way in which Cole's acceptance of his abilities brings about an awakening - but the good things are deeply buried.

The Sixth Sense is obviously an attempt by Bruce Willis to broaden his range. The actor, best known for action roles in films like Die Hard , has effectively explored a few dramatic parts in the past (most notably in In Country ), but this may be the first time he has consciously attempted to essay a low-key persona. It doesn't work. Only in the first scene does Willis exhibit any life; after that, he has a tendency to fade into the background. Part of the problem is undoubtedly that his character is badly written, but there's also a distinct lack of energy in the performance.

Willis' co-star is young Haley Joel Osment, a child thespian who has shown promise in films like Forrest Gump (as Forrest Jr.) and Bogus . Unfortunately, Osment's work here is merely adequate, emphasizing the need that child actors have for strong directors (a point that should be remembered when condemning Jake Lloyd's turn in The Phantom Menace ). Osment is occasionally effective, but, based on his past work, I expected a more captivating performance. Shyamalan fails to cull the most he can from the young actor.

Toni Collette ( Muriel's Wedding ) deserves recognition for doing something with an underwritten role. Nevertheless, Lynn's relationship with Cole, which could have been an emotional cornerstone of The Sixth Sense , feels muted. There's only one scene between these two that possesses any depth (and that happens near the end). Meanwhile, Olivia Williams ( Rushmore ) is criminally underused. It's a shame, because much of the film's impact depends on our understanding a few things about Anna, but she's not on screen enough for us to recognize her as anything more significant than a footnote to the main story.

There are undoubtedly those who will enjoy The Sixth Sense simply because of the spiritual angle, which tries to say something about the connection between this world and the next one. Today's society has an undeniable fascination with supernatural/pseudo-religious issues. (Is there any other way to explain the success of pabulum like TV's "Touched by an Angel"?) But, unlike in movies such as What Dreams May Come , this motion picture is saddled with a murky, unimaginative vision. At its best, it's merely competent; at its worst, it has a movie making-by-the-numbers feel. The Sixth Sense joins Arlington Road in proving that a forceful or clever conclusion is not enough to redeem an otherwise uneven and tepid production.

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Classic Review: The Sixth Sense (1999)

Overall Score

Rating summary.

The Sixth Sense follows Malcolm Crowe (Willis), a child psychologist happily married to a woman named Anna (Olivia Williams). One night after a few drinks their house is broken in by Vincent (Donnie Wahlberg), a former patient of Malcolm’s who is still deeply disturbed. Malcolm was not able to help him as a child and Vincent showed up to let him know how much he suffered, before he shoots Malcolm in the stomach and then kills himself.

Malcolm feels deeply responsible for what happened to Vincent, so when a similar case shows up he makes extra effort to help. Cole (Osment) is an isolated boy who’s treated as a freak by everyone around him. His mother Lynn (Collette) tries her hardest to provide for them both alone since Cole’s father left them. But something deeply disturbing is happening to Cole and not his mother nor Malcolm are capable of understanding. He is frightened all the time, shaky, scared. Over time, Malcolm finally makes the boy open up and share his secret: he sees dead people, and is terrified by them. At first Malcolm doesn’t believe in him but in time he finally understands the boy is actually telling the truth. He then helps Cole to figure out a way to put his gifts to a better use.

The Sixth Sense came out of nowhere and became a huge blockbuster 20 years ago. No one knew who M. Night Shyamalan was at the time and he became a household name after the film. The film also invigorated Bruce Willis’ career (very much in need at the time) and shot Haley Joel Osment into the stratosphere , both were very much deserved.

Everyone knows The Sixth Sense ‘s big twist but we still won’t spoil for those who don’t. The twist works amazingly well with the story, and also works very well while looking for the details upon a second viewing. What works most effectively here is that it is such a simple, down to earth concept that doesn’t weaken itself despite already knowing what it is. On the contrary: you admire it for the mastery of narrative that it actually is.

A common misconception about The Sixth Sense is that it is not a horror film. It shouldn’t be considered near the landmarks of the genre because it is so clearly a drama. It’s a story of a boy who sees ghosts. They frighten him for sure, but when you watch the film without paying attention to the hype you’ll notice there’s very little to actually be scared of. It’s psychological for sure but the jump scares are quite few. And most importantly: it thrives as a drama.

There is an easy allegory here of people not seeing the truth that is is right in front of them. We create ways to diverge from what we can’t handle and we end up seeing only what we want to. But there are other elements here that are quite good. Cole needs to embrace his freakiness is very empowering to young kids, but maybe the most important idea The Sixth Sense delves into is that we cannot let our fears block us from living; we need to face our fears, to make them work in our favor, to be confident enough to know that we can handle what life brings us.

Some visual elements are quite interesting in the story. The choice of shooting the film in Pennsylvania gives it a perfect climatic ambiance that exists so effortlessly in the east coast, helping to create this mood that passes through all the film. The streets are old, the buildings are old, and the cars, and the stairs, and everything seems to come with a lot of story and background. Collette’s hairstyle, makeup and costumes are perfect to make us understand who this mother is. We get her right in her first frame.

However, the reason The Sixth Sense works so well is the cast. Willis is just okay as Malcolm and it’s hard to imagine people expecting him to give more than what she shows here. Wahlberg is heartbreaking in a 5-minute scene as Vincent. He has very little screen time, but we can sense how disturbed he is. Collette is an amazing Lynn; you can see how fierce she is in defending her baby even though she doesn’t understand what’s happening to him. Her car scene with Cole is just great great acting. It’s touching, it’s weird and it’s exaggerated to the right amount, again perfectly revealing who this woman is. But the standout here truly is Osment as Cole. He is so gifted, so fantastic in all of his scenes, it’s a delight to watch him perform.

The Sixth Sense is a great ghost story. A fantastic psychological thriller. An amazing drama. Pick your choice. Either way, you won’t regret it.

*still courtesy of Buena Vista Pictures*

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The sixth sense.

• Common Sense Says
• Parents Say 54 Reviews
• Kids Say 273 Reviews

Parents Say

Based on 54 parent reviews

Parent Reviews

This is a great movie, but maybe not for kids.

This title has:

• Great messages
• Great role models
• Too much violence

Report this review

Cool, very well made, pretty scary, but the way that the parents are expressing it makes it seem like it should be rated r- but if you aren't ready for a horror movie, don't watch a effin horror movie, this is good for 14+, horror movie lover classic, too gory for pg-13, the sixth sense review, m night shyamalan is awesome.

I loved the suspense, and the details that through us off. I did not like that Cole’s mother walked out in a bra, and Malcom’s wife was in the shower and you can see through the glass door. Also, the words GD came up and I thought it wasn’t necessary. There was some gore and some images that were a bit hard to see. Overall, it was a GREAT movie. if you are looking for a thrill this is it!

• Too much sex

Shows the side of Bruce Willis you don’t usually see

What to watch next.

Poltergeist

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

The Sixth Sense (1999) Ending Explained – What is the shocking truth about Malcolm?

The sixth sense plot synopsis.

A child psychologist, Malcolm Crowe, is asked to help 9-year-old Cole Sears, who is experiencing mental deterioration. What initially appears to be a normal case turns out to be much more complex after Cole reveals he can see spirits.

In a bizarre turn of events, the case eventually leads to Malcolm discovering a shocking truth about himself.

What happens with Malcolm?

Malcolm is a revered child psychologist. The night he receives an award for his work, he is shot by an angry former patient, Vincent Grey. A couple of months later, he is hired by Lynn Sear to counsel her son, Cole.

The project is special to Malcolm because Cole reminds him of Vincent, and he feels that by curing Cole, he can compensate for the failed treatment of Vincent.

How does Cole’s treatment begin?

Cole is a highly reserved kid who is haunted by bad social interactions and real ghosts. Malcolm knows what he is up against. So, he tries to win Cole’s trust with a game where he tries to read his mind. Initially reluctant, Cole begins developing trust for Malcolm. However, his troubles don’t seem to stop. On his birthday, a couple of bullies lock him in a cupboard where he faints due to suffocation.

Cole shares with Malcolm his secret about seeing dead people and ghosts. He further adds that the ghosts only see what they want to see, and are oblivious to their state. Malcolm has a hard time believing him. He feels Cole is experiencing delusions until he himself hears a ghost in a videotape. Once convinced that Cole was right about ghosts, Malcolm completely changes his treatment approach.

He suggests Cole try to communicate with the ghosts and help them if possible. Though fearfully, Cole follows Malcolm’s strange advice.

How does Cole recover?

Cole works to find out about a ghost girl he witnessed vomiting in his room. Joined by Malcolm, he goes to her house and sneaks into her room. The dead girl gives him a videotape containing the secret of her murder. Cole hands the videotape to her father revealing it was her mother who poisoned her to death.

Cole starts learning how to live with his unwanted power. In addition to improved behaviour, his performance in school gets better with the help of a dead coach.

Afterwards, Cole tells his mother about his ability – which she doesn’t believe initially, but is later convinced when Cole shares information about her he couldn’t ever have known.

Malcolm’s Fate

Having successfully treated Cole, Malcolm comes home to find his wife speaking in her sleep about him having left her. When his ring falls from his wife’s hand, he notices he has not been wearing his ring. Instantly, Cole’s words about the dead ring in his head, and he realizes he died the same day his patient shot him. And all along, only Cole could see him.

Though sad about not being able to embrace his wife, Malcolm calms himself down and accepts his unfortunate fate. He sits near his wife to say his final goodbye filled with love. His face expresses no grief – just shreds of satisfaction.

Feel free to check out more of our movie reviews here!

1 thought on “the sixth sense (1999) ending explained – what is the shocking truth about malcolm”.

this movie trash i saaw it in mr wells clas dont watch this move plz

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