Knock at the Cabin

 With the release of every one of his films, M. Night Shyamalan is guaranteed to elicit divisive opinions from both critics and the general public alike. His most recent endeavor before Knock at the Cabin, Old, received mixed reviews upon opening as many of his other films have, and Knock at the Cabin shapes up to be yet more evidence of Shyamalan being the most polarizing mainstream filmmaker working today. Adapted from Paul Tremblay’s novel The Cabin at the End of the World, the film hones in on a family of three as they vacation at a secluded cabin. Soon, armed with weapons, an ominous group of four arrive at the property warning of an apocalypse that can be averted by making a grueling decision. Tight, tense, and thought-provoking, Knock at the Cabin is a gripping thriller with an unsettling atmosphere, stunning craftsmanship, and captivating performances from all.

The film hits the ground running with the intruders arriving on the scene within its first minutes.  Instantly, an eerily heartfelt Leonard (Dave Bautista), the ringleader of the intruders, captures the audience through his interaction with an innocent Wen (Kristen Cui). From this scene on, Bautista goes on to translate his character’s internal battle to his physical performance through his calming line deliveries and relaxed demeanor juxtaposed with his intimidating physique and abhorrent actions. Despite wasting no time getting the ball rolling, the film’s well-paced screenplay does not expense the character-building, it is through dispersed flashbacks that we learn about the family’s dynamic and begin to care for the lead couple. Eric and Andrew, played by subdued Jonathan Groff and enrapturing Ben Aldrige, respectively, are passionate in their roles and have a chemistry that excels in having audiences both invested in them as characters and anxious for their safety. As for the other intruders, actors Rupert Grint, Abby Quinn, and Nikki-Amuka Bird (led by Dave Bautista) all pull off the feat of appearing as menacing, yet regretful, with the news they carry, only furthering the mental mind games at play. Through this characterization and enthralling performances, Shyamalan is able to sell his screenplay’s riveting themes.

The four henchmen (Nikki Amuka-Bird, Rupert Grint, Dave Bautista, and Abby Clark), armed with medieval-like weapons, as they prepare for a ritualistic sacrifice.

 Knock at the Cabin at its core is a film about family that questions the lengths we are willing to go to save them. Would we sacrifice the entire world if it meant our family would be safe? Although this universal theme is impactful, it’s Shyamalan’s adaptation of Tremblay’s open discussion on the modern LGBTQ+ experience that captivated me. Most of the film’s tension lies in whether or not there’s truth to this quartet’s apocalyptic prophecy. For most of the runtime, a pessimistic Andrew is transfixed on debunking the allegations and claims that this might be an elaborate targeted attack on the couple. On the other hand, the more naïve and well-intentioned Eric is open to their ideology and intent on understanding these people. The personification of this moral dilemma through this couple and having this situation viewed through a queer lens is nothing short of fascinating.

Given the bigotry that the LGBTQ+ community faces daily through interactions with the public and especially recent legislation, it’s hard not to connect with Andrew and even reflect on how you would react if placed in his shoes. Regardless of the film’s murky messaging, it’s the psychological torture the audience is put through that makes Shyamalan’s themes entirely gripping. Through this incisive exploration of the LGBTQ+ community, I was forced to ruminate on how society has wired us to behave defensively and immediately presume the worst. The film also further compels its audience to consider how religious groups can twist their beliefs and project their burdens onto the community under the guise of it being in good faith. Taking it a step further, Shyamalan’s screenplay lends itself so that the audience can ponder how hateful rhetoric can lead to a hive-mind mentality when given a platform on social media and create real-life consequences.

Leonard’s (Bautista) presence looming over the family (Aldridge, Cui, and Groff) as he holds them hostage to insist on making a sacrifice for the greater good of humanity.

Supporting Knock at the Cabin’s themes are its masterful technicalities. The inventive cinematography from Jarin Blaschke uses the singular location to its fullest extent with claustrophobic shots and off-kilter direction that provoke discomfort. Similarly, Herdís Stefánsdóttir’s score of epic string compositions, both harsh and lush, and ominous drums, heightens the unnerving atmosphere crafted by Shyamalan. From the opening credits of the film to its final shot, Shyamalan refuses to give the audience a minute to breathe and uses all of the tools at his disposal to create an incredibly uncomfortable watch.

Knock at the Cabin is, without a doubt, on track to uphold Shyamalan’s hit-or-miss reputation, perhaps for reasons different than in the past. With this release, Shyalaman strays away from the twists and turns and instead provides an experience that’s just as visually stimulating as it is mentally. Despite having an ending that can be perceived as anti-climactic, it’s what it had you thinking whilst watching that, ultimately, leaves a mark. That’s not to say, however, that the film isn’t an exhilarating, edge-of-your-seat thriller and a masterclass in tension-building; it just so happens to focus more on the food for thought. Whether some will want to chew on its themes or opt for a more straightforward suspense film, there’s no denying that the intoxicating ensemble cast, layered screenplay, whiplash pacing, and unique score result in Shyamalan’s best film since Split.

Verdict: A certifiable Nick Pick, Shyamalan’s unconventional approach to his own style of filmmaking is a nail-biting deep dive into religion and sexual identity but it may not be for all.