by Foster Harlfinger, Contributing Writer
On the surface, Knock at the Cabin seems to be nothing more than a straightforward home invasion thriller, but even casual movie fans have learned that any film from M. Night Shyamalan will always have a few tricks up its sleeve.
Based on author Paul Tremblay’s The Cabin at the End of the World, this adaptation follows couple Eric and Andrew (Jonathan Groff and Ben Aldridge) as they protect their young daughter, Wen (newcomer Kristen Cui) from four mysterious intruders on a mission. The film makes the most of its single location, stretching Tremblay’s premise to its maximum potential. Though the film makes a handful of incredibly significant departures from the original novel, they all feel justified for a big-screen adaptation, and in keeping with the spirit of Tremblay’s suspense-filled writing, despite Shyamalan’s far more literal approach to the story.
The tension continually rises as Eric and Andrew gradually discover the true purpose behind their captors’ visit. The foursome, led by the hulking but sensitive Leonard (Dave Bautista, in a career-best performance), present their family with a choice: they must sacrifice one of their own in order to prevent the incoming apocalypse.
Knock at the Cabin is a film of questions. Are the four intruders telling the truth? Is there any possibility of escape? Would you be willing to sacrifice someone you love for the survival of humanity? Shyamalan’s latest may not be quite as deep and ponderous as intended, but its success largely rides on the strength of its cast. The film simply would not work without such a strong trio at its center, making Groff, Aldridge, and Bautista’s unwaveringly committed performances a major asset to the film. Sure, you have your typical wonky line readings here and there, and the ending certainly takes a few big swings that won’t work for many audience members, but that’s all par for the course with any Shyamalan movie.
For all his faults as a writer, Shyamalan’s direction is simply spotless. It is a shame that his fiercest critics narrow their focus on Shyamalan’s dialogue and over-the-top story turns that they fail to acknowledge his genuinely innovative shooting style. From Split to Old to his Apple TV+ series Servant, Shyamalan is a true visionary with the camera, and those with an eye for cinematography will appreciate his attempts to introduce new modes of visual storytelling.
Director of Photography Jarin Blaschke (The Lighthouse, The Northman) shot Knock at the Cabin on 35mm film using 1990s camera lenses in order to give the film an old-school thriller flavor. Unique framing, purposeful withholding of focus, and dynamic camera movements abound in Shyamalan’s last few projects, and Knock at the Cabin is no exception. In one memorable example, a simple turn of the camera following Leonard’s menacing pitchfork takes an already tense scene to nearly euphoric levels in mere seconds.
Shyamalan’s films may not work for every moviegoer, but it can feel particularly nasty when the harsher criticisms come in the, “Who let this guy make movies?” variety, given that he has self-financed each of his own films for the last eight years, even mortgaging his own house to shoot 2015’s The Visit on a fairly tight budget. There is nothing more exciting than a filmmaker who is willing to take authentic risks, and Shyamalan is nothing if not a risk-taker. Knock at the Cabin will certainly have a broader appeal than Shyamalan’s admittedly misguided 2006-2013 run, but the film’s unique blend of tension, humor, and emotion along with its breezy 100-minute runtime makes it difficult not to recommend to those in search of a good, old-fashioned thriller.
Score: 8/10
Knock at the Cabin is currently playing in theaters
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