Old sees M. Night Shyamalan back to his earnest, chilling ways. It might not be his best film, but it's a refreshing and empathetic return to form. justbrizigs' review:
—a deeply earnest critical miss—portended the director’s true return to form withcenters on an outwardly perfect nuclear family that is, of course, quietly fracturing. Husband Guy , a risk assessor, and wife Prisca , a museum curator, spit at one another over their impending separation and an as-yet-unknown medical diagnosis given to Prisca while on their vacation away at a beautiful, tropical resort with their two kids: Pre-teen Maddox and six-year-old Trent .
Unsurprisingly, there is something immediately off about the Anamika resort. The employees are a little too kind, a little too smiley; too accommodating and eager to make sure their guests are content to the point where the manager goes out of his way to recommend to the family the resort’s separate, secluded beach within a nature preserve nearby, simply because he “likes them.” Though initially thought to be a private excursion, the bus ride to the beach reveals that they won’t be alone.
The quiet day, isolated from the resort’s overcrowded main beach, starts off peacefully enough—children playing, selfie-taking, problem-avoiding—until everything slowly, carefully begins to unravel.
As fear and confusion escalate among the beach-goers, Shyamalan expertly disorients the audience along with them, crafting an atmosphere of deep claustrophobia despite being surrounded by the vastness of the open ocean. The moments leading up to the realization that all three children have drastically aged are like living inside a panic attack: Mike Gioluakis’ cinematography alternates close-ups of anguished faces as they are flanked by various disarray on all sides.
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