That’s one visit I won’t be making again.
A single mother (Kathryn Hahn) finds that things in her family’s life go very wrong after her two young children (Olivia DeJonge and Ed Oxenbould) visit their grandparents (Peter McRobbie and Deanna Dunagan).
Has M. Night Shyamalan broken his movie curse? Not even close.
To think this was from the guy who brought us The Sixth Sense, The Village, Unbreakable and Signs (Yes. For all its ridiculous plot holes. I liked it).
A creepy premise that had moments of genuine suspense and tension was soon hampered by silly handheld camera play, annoying kids and unintentionally hilarious dialogue.
The opening didn’t give me much hope. DeJonge’s pretentious movie geek waffle numbed me into a coma while Oxenbould’s freestyle rapping had me cringeing in terror. Was that Shyamalan’s intention?
Now credit where it’s due. Despite being a patchy affair, it was still watchable. I desperately tried not to pick at Hahn’s parenting skills. Yeah, just chuck your kids on a train without speaking to the parents you haven’t spoken to for 15 years. Something about a “incident” that made her run away from home. Nothing suspicious there
Dunagan was superb as Nana. Sickly sweet one second, shrill and volatile the next. McRobbie disappeared for chunks of the film BUT when he was given the chance, he was creepy as hell with his blank staring and zombie-esque wandering.
During the day, we suffered through mindless exposition, cheesy Skype-ing with Mom and sickly sweet exchanges with Nana and Pop Pop. That is until night fall. Now that’s where things got a little more interesting. The slow burning tension slowly bubbling away. One simple rule. Don’t come out after 9.30 pm.
This little premise intrigued me. The questions pondering as each night passed. The grandparents’ activity getting stranger and creepier. The “sundowning” theory for explaining the grandmother’s strange behaviour was almost believable. Playing it down to a rare strand of dementia.
The hide and seek sequence was genuinely tense and unsettling. Every time the kids crept around another corner, I feared something would pop out and give my heart a jolt. However, the tension was soon killed off by Dunagan’s backside. I kid you not. It spoiled the scene. Redeemed by a cheeky one liner from Oxenbould.
And that was the problem, there were a number of moments that came off unintentionally funny. Dunagan creeping around the house. Weird. Running around like Batman in the nude? Shudder. Not so much. Every time DeJonge’s granddaughter pried Nana for more information about the “incident”, she would beat herself up like Dobby the house elf. Lordy lord.
The tone was all over the place. Menacing and tense in one second, parodical the next. If not for the needless nudity, this could have easily been a 12A. I loved the Blair With vibe around the piece but the Paranormal shaky hand cam has been done to death in horror films for the last decade. What I loved about Shyamalan’s works was the fact that he never caved into this relentless fad. Until now.
One thing that can be agreed that was a vast improvement from The Happening.
The twist. Oh yes, you can’t have a Shyamalan movie without a twist. It was hardly a surprise. If anything I wanted more. BUT it certainly made the last 15 minutes a nail biting and racy little finale. Even Oxenbould managed to win me over by the end. I was actually rooting for the annoying little toad.
BUT it ended so abruptly and then out of fear of being too serious, we had another stupid rap from Oxenbould tacked on. A terrible footnote for a mismatched movie. Back to the drawing board, Shyamalan.