Knock at the Cabin

M. Night Shyamalan, adepte superstitieux des valeurs traditionnelles, est à court d’idées pour ses retournements finaux, alors il se préoccupe au moins ici de problématiques sociales plus complexes. En l’occurrence, l’adoption par des personnes de même sexe. L’intention dramaturgique à l’égard du public est claire, sauf que pour que cela fonctionne, il faudrait que nous soyons convaincus de la gravité de la situation de violation de domicile (qui est divertissante dans le contexte du genre cinématographique du « home invasion », mais qui ne peut simplement pas être prise au sérieux) et que nous ne croyions pas à la théorie avancée par les intrus (ce que nous n’avons aucune raison de faire, puisque tout est possible avec une constellation de personnages aussi bizarres, et dans un film de Shyamalan de surcroît). (06/03/2023)

Shyamalan's best years are behind him and his latest release is a mediocre film. Knock at the Cabin is more of a psychological drama-thriller than a horror film, but one that lacks drive, doesn't make much sense, lacks a proper twist and holds up the violence. The first half hour is pretty good, it has a home-invasion feel to it, with four armed people trying to ambush two men and a little girl and coming up with an unpleasant proposition like Sophie's Choice. Dave Bautista is decent in the role and is probably the most interesting thing about the film. The disasters on TV are also interesting, the only more action packed and interesting insert. However, the progression of the film is very tepid and slow, and wheen there is a murder, it's out of frame. The psychology of the characters isn't portrayed consistently enough to sway the viewer and the whole thing unfortunately doesn't make much sense without a proper Shyamalan Twist. The atmosphere didn't impress me much either, the suspense is lacking as well, I don't find much praise to recommend Knock at the Cabin to anyone. 5/10. (27/02/2023)

So after Signs, we have A Revelation. The 1990s lenses for an old-school thriller look suit it remarkably well, but with logical gaps and unmet atmospheric expectations, it falls short in Shyamalan’s classic family drama about faith, not just in God. The twist? Only for readers of Paul Tremblay's source material; otherwise, the biggest twist is that there isn’t one. If there are any speculations about the identities of the characters, Dave Bautista certainly wasn’t Hunger. (27/02/2023)

Four armed weirdoes trap a married couple and their daughter in a cottage and demand that one of them sacrifice himself to prevent the coming apocalypse. A game of nerves begins, but what if the end of the world is really near? M. Night Shyamalan takes an interesting subject and made a woefully uninteresting film. His new film tries to play on uncertainty, to not explain and to avoid clear-cut points. But this doesn’t make it thrilling, but rather boring and drawn out. Another misstep for the director. It is decently shot, but not very entertaining to watch. (31/01/2023)

As someone who didn't hate the last two widely criticized Shyamalan films, I have to say that M. Night pissed me off with Knock at the Cabin. While Glass and Old were leaky and unconvincing in some ways, I found their concepts interesting and thought-provoking. In comparison, the concept of Knock at the Cabin is very stupid. I'd probably enjoy a believable movie with a premise of people trying to convince other people of complete bullshit, and how those people are willing to believe said bullshit under certain conditions, but the problem is that I would NOT describe Knock at the Cabin as a film with that premise. That's because the finale – apparently unlike some other viewers – doesn't strike me as ambiguous, it strikes me as unambiguously, unequivocally idiotic. PS: This film doesn't have a typical Shyamalan twist, or the twist is that the four freaks are ***** ****** **********? I really laughed at that. (03/02/2023)