Knock. Knock. It being mid-winter (typically a doldrums in movie theaters), it’s a cozy relief to be able to throw open the door and find M. Night Shyamalan standing there with his near-annual helping of high-concept thriller. Know more:
It being mid-winter , it’s a cozy relief to be able to throw open the door and find M. Night Shyamalan standing there with his near-annual helping of high-concept thriller. His last one, “Old,” about vacationers trapped on a private beach where aging is accelerated — a kind of high-speed “White Lotus” — fittingly arrived in the summer.
Just outside a cabin in a wooded forest, 7-year-old Gwen is collecting grasshoppers in a glass jar. “I’m just going to learn about you for a while,” she tells one as she slides it into the jar. Shyamalan, too, is gathering specimens into a hermetically sealed vessel for inquiry. One calmly walks right out of the woods. A hulking, bespectacled man strides up to Gwen, politely introduces himself as Leonard, and makes kindly chit-chat while occasionally glancing back over his shoulder.
This isn’t, like last year’s “Barbarian,” another chastening example of the dangers that lurk within the poorly chosen Airbnb, . This is, like most of Shyamalan’s schemes, a sincere metaphorical proposition. What’s more important: Preserving one’s family or the larger world? But the way the four intruders speak is at odds with that possibility. They seem genuinely concerned for the well-being of the family. They identify themselves as regular people, some with families of their own, who are reluctantly but necessarily carrying out a duty. They are making their own sacrifice, too. Bautista, in one of his finest performances, is more sweet than menacing, even while wielding a heavy weapon. Amuka-Bird, too, is an affectingly sensitive presence.
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