M. Night Shyamalan has not had the best track record with his movies. The director came out of the gate more robust than most directors, the Oscar-nominated The Sixth Sense being one of the most influential horror films of the past several decades. He’s had other successes, like Signs and The Village, and some utter failures, perhaps most notably the bungling of the live-action Avatar: The Last Airbender film. The animated series was and is beloved by many, but Shyamalan’s mistakes cost him viewership from some people for the rest of his career.
For others, this isn’t and shouldn’t be the case. Shyamalan’s latest film, Knock At The Cabin, isn’t perfect by any means but is more likely to land in the success column when overviewing the director’s works at large. The film comes in what seems to be a shift in which Shyamalan is now operating comfortably. Knock At The Cabin, along with 2021’s Old, appears to be reminiscent of the best parts of The Twilight Zone Shyamalan takes a high concept, usually based on something unsettling or terrifying, and flushes it out in a designated amount of time. His stories don’t need to be continued but do need to be thought about. Old was perhaps a bit more ridiculous than Knock At The Cabin, but the entertainment value remains the same.
Where Old was lacking, Knock At The Cabin remains the same. The film is based on Paul G. Tremblay’s bestselling book entitled The Cabin At The End Of The World and features a family who experiences a home invasion unlike any other. Eric (Jonathan Groff) and Andrew (Ben Aldrige) bring their young daughter Wen (Kristen Cui) to a secluded cabin in the name of rest, relaxation, and family togetherness. The family is later tied up by four strangers who claim to have had visions that will enable them to stop the apocalypse, but Eric and Andrew must make some difficult choices at first.
Like The Sixth Sense, Knock At The Cabin is emotionally raw. Shyamalan is adept at allowing his performers to explore familial and romantic relationships. The film is at its best when thematically following Eric and Ben’s character arc. Dave Bautista and Ruper Grint, as two of the intruders, also give convincing and well-thought-out performances. Shyamalan’s idea to give both actors a chance to prove their abilities after being almost exclusively known for participating in well-known franchises is a risk well taken.
Knock At The Cabin is also a movie about faith, though it isn’t a religious film. Shyamalan tackles belief in the age of misinformation and does so quite well. The director is known for his famous twist endings, which often reveal hidden plot points or other surprises. You’ll find nothing of that nature in Knock At The Cabin. Though the film is undoubtedly exciting to the point of captivation, Shyamalan concludes with a particular type of peace. It is simultaneously meaningful and sensationalist, perhaps making Shyamalan such an exciting director in the first place.
How we deal with ourselves, our families, and strangers is worth examining from every angle, personal and global. Shyamalan and his film don’t have all the answers, but they present a significant jumping-off point. Knock At The Cabin is worth the watch, though be warned, it might make you reevaluate your relationship with M. Night Shyamalan and, more importantly, the world around you.
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