Knock at the Cabin
3 out of 5 stars
On very rare occasions, I actually read the book first before seeing the movie it’s based on. Knock at the Cabin is such an occasion. Admittedly, it was by accident because after purchasing Paul Tremblay’s The Cabin at the End of the World, I then soon discovered M. Night Shyamalan was adapting the apocalyptic thriller. Once having this newfound knowledge, I finished the novel in record time. A whole four days!
Afterwards, I made a promise to myself that no matter how difficult it shall be, do not compare the two because we all know usually what’s on the page wins out over what’s on the screen. With that said, I can’t stop thinking about how thoroughly different the ending is between the two. And it’s not because Shyamalan chose to change it, it’s that he went with one that rings slightly hollow and is way too conventional compared to what he could’ve given us. Consequently, while the story’s meanings are significant, they wither by its conclusion.
Tought, tense, and intimate, Shyamalan creates an efficacious atmosphere in one secluded location where a family must make an inconceivable decision to avoid doomsday. Who and what to believe is what will enthrall audiences the most as they further bare witness to how far the intruders will go to prove their point. It’s outright horrifying. The faith-based themes are more or less surface level but portrayed with great conviction by the tremendous cast, lead by a never better Dave Bautista. He will forever be intimidating (he’s huge!), however, this role shows his vulnerability on screen unlike anything he’s done prior.
Shyamalan’s approach to R-rated movies still needs work, though Knock at the Cabin is undeniably a huge improvement from his first one – The Happening. For a good portion, this has you in its clutches, but in its final stretch – it disappointingly drops the ball considering the material Shyamalan is working with. We’re handed something that’s laid out all nice and neat while leaving nothing up for interpretation. In a place where we await such a critical choice – it’s a behind the camera one that winds up lessening what the movie wants to be.
Brandon Vick is a member of The Music City Film Critics’ Association and the Southeastern Film Critics Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.
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