To be clear, I am not an M. Night Shyamalan apologist. I actually find most of his filmography grating and lacking longevity, and still demand an apology for “The Last Airbender.” So when I say that “Knock at the Cabin” is Shyamalan’s best film in years, know this comes from a doubter and skeptic, and not a champion. In all fairness, it’s not his best film, merely his best film among his recent outings in the last decade. Proving he’s more than a one trick twist pony and capable of creating true tension without a hook, “Knock at the Cabin” stays consistently gripping and thrilling, rarely faltering in its engaging premise and strong performances.
The tepid desire to embark on another M. Night disappointment isn’t without merit, and you’d be right to eye roll at another attempt to goad you into being let down. but “Knock at the Cabin” rips, delivering a sustained, engaging, and rather disturbing thriller that is sure to keep you entertained and on the edge of your seat from start to finish.
Directed by Shaymalan from a script from Shaymalan, Steven Desmond, and Michael Sherman, “Knock at the Cabin” is an adaption of the 2018 novel “The Cabin at the End of the World” by Paul G. Tremblay. The film follows a small family who take a vacation to a remote cabin. Before long, they are visited by 4 mysterious guests who claim that they are on a mission, united by a common vision and are here to prevent the apocalypse. The rules are simple: to prevent the end of the world, one person in the family must willingly choose to sacrifice one their loved ones. For every rejection of making the impossible choice, the 4 intruders believe that more people will die, and eventually everyone will perish and the world will end in flames. There is, of course, a time limit, and the longer they resist choosing, the closer the apocalypse becomes according to the intruders. Can they make the impossible choice? Kill a loved one to save the world? Should they even believe these people who seem steadfast in their beliefs?
Shyamalan demonstrates a clear vision behind the camera, and one doesn’t even have to like all of his films to recognize that he is a good filmmaker. The tension and camera work for such a small, singular location is skillful and engaging, with “Knock at the Cabin” wasting no time getting into the nitty gritty of its narrative. And it rarely lets up, continually upping the stakes without feeling the need to ramp up the ridiculousness, a pitfall the film is more that capable of falling into but manages to avoid. Shyamalan is crafty enough to keep things cooking all the way through, and surprisingly demonstrates an often unseen patience and restraint in his approach. There is something rather comforting in knowing that, by its very nature, this film doesn’t hinge entirely on its ending. How it ends is irrelevant to the overall journey the film takes you on, making it a film that acts as an inverse to what we would expect from the known director. Even “Old” is entirely dependent on the reveal, and it is refreshing to see Shyamalan work with something like this that simply doesn’t need the “gotcha” to be worth watching.
It also helps that Night isn’t alone in the screenplay department this time, something I think has held a number of his films back from being as good as they should be. Shyamalan has always struggled in the script department, and while the screenplay isn’t necessarily the standout, having two additional writers in addition to source material adapt help make “Knock at the Cabin” better written than most of his other outings. The film also sports some solid performances, and shines when the cast is the focus instead of the events. The single location helps allow each of the characters from all sides to develop and become their own distinct personalities regardless of screen time. The only real fault here is the inserted and at times, jarring flashback storytelling. “Knock at the Cabin” works best when it is centered on the cabin and the people in it, and loses some steam when it tries to venture out and add some outside context to some of its characters. It’s relevant but not effective, and at times slows down the gripping pacing of “Knock at the Cabin.”
Though Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, and Abby Quinn are all terrific, it’s Dave Bautista who steals the show. Bautista once again proves that he is more than capable of developing as an actor, and “Knock at the Cabin” is another facet to his already charismatic presence. Bautista’s Leonard is complex and tragic, and is so far removed from any character we’ve seen him attempt thus far in his journey to becoming a legitimate actor. I’ve always been a Bautista fan, but his work in “Knock at the Cabin” proves that he is genuine and earnest about wanting to be a true performer. I’m completely on board for more Bautista in more things, particularly things that don’t rely on his hulking build and highlight his boundary pushing, dramatic, human skills. Bautista isn’t quite there yet, but if he keeps doing things like “Knock at the Cabin” and knocking it out of the park, he’s poised to get there long before many of his WWE contemporaries. Yes, that includes The Rock, who may be a superstar and box office machine, but will never be anything other than The Rock.
My only real knock (pun intended) on “Knock at the Cabin” is with its overall messaging and themes. Without spoiling anything the film does lend itself to being misinterpreted by the wrong kind of people. Though generally ambiguous all the way through, some of the liberties Shyamalan takes with the source material unfortunately opens the film up to be a rally cry for the kind of people who don’t need one. Whether or not the end of the world is prevented, happens, or isn’t real in the slightest is irrelevant. “Knock at the Cabin” unfortunately validates the delusional, and will more than likely generate a number of hot takes that should be deleted but will feel emboldened to tweet incessantly nonetheless.
I don’t believe this was Shyamalan’s intention; I highly doubt he made the film as a homophobic dog whistle or a hidden Qanon manifesto. But “Knock at the Cabin” treads into some dangerous waters, and while it smartly avoids many of the worst of the thematic muddiness and is still a great time at the movies, I can understand those that leave feeling some kind of way about how its subject matter is packaged. Overall though, “Knock at the Cabin” is a solid thriller from a solid, albeit unreliable filmmaker who proves he has an eye for tension and immersion and gets the most out of his performers.
If you were worried about being let down, I’d say that “Knock at the Cabin” is a safe bet and doesn’t disappoint.
I guess we are all called by a common vision, and must make an impossible choice: to see Shyamalan’s “Knock at the Cabin” or continue to prevent the apocalypse of disappoint. Can YOU make the choice?
Rating: 4 out of 5 Stars
“Knock at the Cabin” is now playing in theaters. You can watch the trailer below.
