The metaphors are as heavy handed as the axes they kill each other with (again, not a spoiler because this happens within the first 10 minutes). He has a compulsive need to spell out everything in black and white immediately, and he is utterly incapable of telling stories through demonstration. I think Shyamalan needs to go back to film school and learn what “exposition” is. Right away, we are presented with the classic Shyamalan archetypes, seven characters who all represent something different about humanity - and we know this, because they tell us. Eric and Andrew, of course, do not believe their captors and think the four friends are having a psychotic episode or are members of a religious doomsday cult. I’d apologize for spoiling it if it wasn’t completely obvious from the first five minutes - hardly a spoiler unless you’ve lived under a rock your entire life. Could these four friends be … the four horsemen of the apocalypse ? Oh sorry, that was the twist at the end. If the family does not choose or make the sacrifice, each of the four friends must die in succession, and each of their deaths will bring destruction, death and calamity to the Earth. Night has never explored that theme before). She is confronted by Leonard, a burly man who tries to befriend her and her “two dads.” Leonard and his friends (there are four friends in total) explain to Wen and her parents, Eric and Andrew, that the family must choose one member to die as a “sacrifice,” or the world will end (oh look, is it … the trolley problem? Wow, M. They are subject to her every whim, just as humans are to the whims of the supernatural. The film opens with an obvious metaphor of a little girl named Wen trapping grasshoppers in a glass jar and making them her experimental playthings - she is the god of her own little grasshopper globe. Night Shyamalan, because it contains all his greatest hits: an intriguing (though unoriginal) idea that is heavy handed, badly scripted, poorly acted, terribly directed and ends with a predictable “twist.” Hooray! The critics’ consensus declares it “Top Tier Shyamalan.” To be fair to them, “Knock at the Cabin” is peak M.
The people at Rotten Tomatoes must be on bath salts, because they’ve rated “Knock at the Cabin” an extremely generous 68 percent.
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