Old has a good premise, but M. Night Shyamalan doesn't explore it so much as he throws ideas against the wall. Read OwenGleiberman's review of the new film:
) are on vacation at a ritzy tropical-island resort along with their two children, 11-year-old Maddox and 6-year-old Trent . There’s a bit of drama the kids don’t know about; their folks are on the verge of splitting up, and Prisca has had a health scare. Nevertheless, the couple is putting on a good face, and they embrace an offer made by the unctuous Euro resort manager to take a day trip to a special beach hidden behind a spectacular rocky cliff on the other side of the island.
On the beach, they’re joined by a handful of the hotel’s other guests, and that’s when bizarre things start to happen. The body of a nude swimmer shows up dead in the water. Anyone who stands in the adjacent canyon blacks out. Oh, and the two children suddenly look a lot older — they’re now 16 and 11.What’s going on? The beach possesses a mysterious quality that ages anyone who’s on it. Every half an hour, you get one year older.
“Old,” like most Shyamalan movies, has a catchy hook along with some elegant filmmaking gambits. But instead of developing his premise in an insidious and powerful way, the writer-director just keeps throwing a lot of things at you. That nude swimmer was the paramour of a famous rapper named Mid-Size Sedan , who Charles the surgeon wastes no time accusing of murder. The movie cues us to think that’s a racist idea, yet isn’t above exploiting it for suspense.
When you nitpick a thriller, you can sound like one of those people who Hitchcock referred to, with weary futility, as “the plausibles” . But “Old,” even once you accept where it’s going, lacks shape and consistency. It has a compelling off-kilter visual style, with the camera hinting at things just out of sight, but the characters keep explaining who they are in cliché psychotherapeutic soundbites; at times, the film threatens to turn into the “Twilight Zone” version of a 12-step meeting.
The real trouble with the movie is that its rules are so arbitrary. A corpse decays to bone in half an hour. The adults all age by barely visible increments. Each family, tellingly, has a malady — but some are physical, some mental. One character ends up with a mass of contorted limbs like something out of a demonic-possession film. Another scales the vertical rock face to escape, then fatally falls asleep during the climb.
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