Some may remember M. Night Shyamalan for his biggest hits, like the classic ghost story The Sixth Sense (1999) and Unbreakable (2000). Others may look down on him, remembering some of his more critically panned efforts like The Last Airbender (2010) and After Earth (2013).

And sure, he’s a filmmaker who may not always be the most consistent. That much is clear, I think, even to his biggest fans. But his love for filmmaking always shows in his work, and he’s never afraid to take the kind of artistic risks that most studio-driven directors could only dream of. With Knock at the Cabin, adapted from the 2018 novel The Cabin at the End of the World by Paul Tremblay, Shyamalan delivers one of his most thought-provoking thrillers in years.

Eric (Jonathan Groff) and Andrew (Ben Aldridge), along with their adopted child, Wen (Kristen Cui), get taken hostage in a vacation cabin by Leonard (Dave Bautista), Sabrina (Nikki Amuka-Bird), Redmond (Rupert Grint) and Adriane (Abby Quinn). But this isn’t simply another home invasion movie: the group of four informs Eric and Andrew that they must choose to sacrifice somebody in their family in order to prevent the end of the world.

It’s a question that nobody could ever be prepared to answer, yet this family must, leading to a suspense-filled story that never lets up. The question of whether or not the ‘Four Horsemen of the Apocalypse’ who are holding the family hostage actually see the vision for the end of the world or are simply delusional is one that permeates throughout almost the entire 100-minute runtime — and to great effect. Choosing to have the main couple be gay adds a really important dynamic to the story, as they feel targeted to make such a choice simply for their love. This adds a layer of social commentary that only strengthens our emotional attachment to the characters.

Shyamalan’s precise and clear handle on building and maintaining tension makes Knock at the Cabin extremely entertaining, making it easy for us to put ourselves in the shoes of the main characters. The performances by Groff and Aldridge are particularly impressive, bringing to life the love the two men feel for each other in a compelling way. The best performance in the whole thing, though, is easily Bautista’s strong, formidable turn as the leader of the pack.

The flashbacks scattered throughout can, at times, feel awkward and take away from the momentum of the main narrative. Some of the moments featured in the flashbacks, like when Eric and Andrew meet a young Wen for the first time, are heartwarming and help provide exposition for how the family met. That being said, these same story beats could have been conveyed by including more deliberation between Eric and Andrew in the present day. A subplot involving Redmond and his past also feels like it was forced into the story to manufacture more tension when the story itself is already strong enough on its own.

Shyamalan refreshingly chooses not to include his classic staple of a twist ending here, instead opting for something more conclusive (unlike in the source material). However, the falling action from the film’s dramatic climax feels a bit drawn out, as if Shyamalan couldn’t decide where the story should end. Still, it could be so much worse (see the horrendous final moments of 2021’s Old, for example), and it doesn’t taint the film too much.

Beyond a few of its minor downfalls, Knock at the Cabin ultimately serves as a clear testament to Shyamalan’s talent. Now let’s stop denying it and give him the respect he deserves.

Review Courtesy of Matt Minton