Corniness is next to godliness in the world of M. Night Shyamalan, and 'Old' doesn't disappoint on that account. Read our full review
Granted, Shyamalan has also persisted in leaning into the idea.
Shyamalan’s films have a related but different problem: Everything leading up to their endings seems predicated on the promise of explanation. Sit around, wait awhile; it’ll all make sense-ish eventually. Or, if you choose, watch with magnifying glass in hand, trying to get a step ahead of the movie, as Sherlock might.is that, for all its mysteries and their conclusory explanations, the real meat of the endeavor is devoted to the fairly obvious.
Maybe they are! That would be pretty corny. But corniness is next to godliness in the world of Shyamalan, and— with its overt dialogue, its obviousness at every turn, its overly-neat echoing in characters’ backstories and occupations — is better, not worse, for laying almost all of its cards on the table, practically in full view from the start.
So it begins. For this to be the only family given such an offer would be too good to be true; other families have also, apparently, been invited. A doctor and his modelesque younger wife , both of them vain, though in distinct ways, plus his mother and their daughter; a psychiatrist named Patricia and her husband, Jarin , who’s a nurse. Them, plus a beach straggler that they all only notice after the fact. Make that two stragglers. One, we learn, is a dead body.
That is: until the grimness really gets going, and the body count rises, and we get neat kills and sweet bits of body horror. What body horror means, for a movie like this, is best left to the viewer to see for themselves. I think it’s ultimately worth it.is goofy in all the right places — and, yes, goofy in some of the wrong ways, too. The ending: It’s satisfying, but it satisfies the wrong things. It’s the feelings Shyamalan has mined, all along, that make the movie worth seeing.
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