M. Night Shyamalan brings us his latest film, “Knock at the Cabin,” an apocalyptic psychological horror film starring Dave Bautista, Jonathan Groff, Ben Aldridge, and Rupert Grint. Our J.P. has his review.
Knock at the Cabin
Universal Pictures
- Directed by M. Night Shyamalan
- Screenplay by M. Night Shyamalan, Steve Desmond, Michael Sherman
- Based on The Cabin at the End of the World by Paul G. Tremblay
- Produced by M. Night Shyamalan, Marc Bienstock, Ashwin Rajan
- Starring Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn, Rupert Grint
Studio Synopsis:
While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost.
From visionary filmmaker M. Night Shyamalan, Knock at the Cabin stars Dave Bautista (Dune, Guardians of the Galaxy franchise), Tony award and Emmy nominee Jonathan Groff (Hamilton, Mindhunter), Ben Aldridge (Pennyworth, Fleabag), BAFTA nominee Nikki Amuka-Bird (Persuasion, Old), newcomer Kristen Cui, Abby Quinn (Little Women, Landline) and Rupert Grint (Servant, Harry Potter franchise).
J.P.’s Take:
If four strangers come knocking at your door asking for help, would you answer? M. Knight Shyamalan’s ultra-spiritualist/psycho-thriller is an unsettling apocalyptic set piece with head-scratching aftereffects.
Adapted from the novel, “The Cabin at the End of the World,” by author Paul G. Tremblay, director/co-writer Shyamalan with writers Michael Sherman and Steve Desmond take a minimalist approach to what could otherwise be an overblown premise. Shyamalan is an ingenious director who understands how to create moments of sheer paranoia, claustrophobia, and anxiety; just in the way he composes each scene.
Although the script deviates slightly from the book, it carries over the main story involving the couple, Eric (Jonathan Groff) and Andrew (Ben Aldridge), with their adopted daughter Wen (Kristen Cui). The three take a relaxing vacation to a remote cabin in the woods to enjoy nature and reconnect as a family.
When the film opens, Wen wanders off into the woods to catch grasshoppers in a jar almost as big as her. These moments are filmed in extreme close-ups, allowing viewers to be in tune with Wen and her surroundings. However, her bliss is interrupted when a large, unknown man named Leonard (Jon Bautista) approaches her. Upon their meeting, the gentle giant only wishes to be friends with Wen. Together they catch grasshoppers and play a little game as they get to know each other more. Later in the game, Wen asks Leonard the pivoting question, “Why are you here?” His answer ratchets up the panic scale a notch as the mood shifts from quaint to quivering. Wen races back to the cabin to warn her two dads, yet they chalk it up to her unfamiliarity with the area and believing she is overreacting and simply scared. Before Eric and Andrew can check out the situation, four people approach the cabin with weapons in hand as they knock on the door. Eric asks, “Can we help you with something?” Leonard explains that they need their help and to let them in or there will be dire consequences for the human race. Refusing to do so, the visitors forced their way in nonetheless.
M. Knight Shyamalan thrusts us into zany and twisted antics of these four doomsday prophets. What transpires within the confines of the cabin as the intruders explain their mission is nerve wracking. Leonard utilizes the large screen TV as though it were a looking glass into the future. This moment reminds me of “Romper Room,” only much creepier. Shyamalan sets the stage with some humorous high jinks as each of the strangers introduces themselves, as though they are at an AA meeting. Their true identity is hidden within the dialogue, whereas we begin to unravel the underlying nature of the foursome’s ominous presence. Redmond (Rupert Grint), Sabrina (Nikki Amuka-Bird), and Adriane (Abby Quinn) somehow share the same vision … that the end of the world is very near. However, this comes with a caveat, as they believe Eric holds the key to the survival of the human race. If you’ve read the bible, then you know about the four horseman of the apocalypse. This is your clue to the four strangers.
Shyamalan shy’s away from the graphic nature of scenes of death. He enables the audience to go with their imagination instead. As the bloodshed starts, glimpses of the motions play out the gruesomeness are shown. Wen gives us clues as to how horrifying this matter truly is by turning away from such scenes.
I became enthralled by maddening outcry and revulsion by Andrew for the group as he believes they are simply a brainwashed religious sect that has targeted them for being a same-sex couple. Andrew also thinks the spouting of impending doom is their way of converting them. There are moments told in flashbacks to when Andrew and Eric first met, through their trials and tribulations as a couple, and to their frightening encounters with hateful people. This leads to more speculation about the identity of the four group members.
If the cast wasn’t convincing enough, the film would have fallen apart. Jon Bautista as Leonard was the driving force behind the madness, with his innocent, kind-hearted mannerisms and gentle speak. After a while his character seeped into my head and would not leave. Rupert Grint has come a long way since “Harry Potter” and showed he has the propensity to play skittish roles. He could totally pass as a bigoted Boston-er filled with disgust. Nikki Amuka-Bird is the sweet, well-meaning Sabrina who cannot stomach the mission. Abby Quinn feels like a young, naive mother who doesn’t know which way to turn. Kristen Cui is adorable, wondrous and smart as Wen. Eric and Andrew played by Jonathan Groff and Ben Aldridge respectively, bounce off each other quite well.
“Knock at the Cabin” will lead you down the proverbial yellow brick road, however, you’ll be asking yourself: What’s next? All the sacrifice and the prophesying lead to more questions than answers. Yet, I feel that’s the point M Knight Shyamalan is trying to make. How will we write the next chapter … how will we shape the future? For that notion, I feel it’s worth the watch.
