M Night Shyamalan enjoys serious mojo recovery with best movie since The Sixth Sense: A Woozy High Horror-concept about being trapped on a seemingly idyllic private beach, where time is fatally sped up. Anyone who doesn't like an overheated beach vacation will probably already experience the feeling of supernaturally rapid aging, horror, and panic that withers their face. And in fact, those are the feelings I often had while watching some of Shyamalan's recent films.
It 's different. Old is a captivating and bizarre old-fashioned perturbation: adapted by shyamalan from the graphic novel sandcastle, by pierre oscar levy frederik peeters; it suits exactly the talent for a particular genre daring ingenious hokum. but unlike its mysteries The Village or The Happening , where Shyamalan seemed to lose his emprigetting on the wheel halfway (or earlier), the pleasantly absurd but frightening premise is held until the finish line. Old is a bit like The Beach by Alex Garland , but with a creepy Twilight Zone twist and an overall cast that Agatha Christie could have imagined. Mostly, I found myself thinking that this could be from the original Star Trek series - and that at any point, William Shatner could beam among the panicked and deteriorated beach dwellers, phaser ready. Unfortunately for them, these vacationers in existential difficulty are alone.
Gael Garcia Bernal and Vicky Krieps play Guy and Prisca, a stressed-out married couple who worry about being hidden from their children, six-year-old Trent (Nolan River) and 11-year-old Maddox (Alexa Swinton). They are in dire need of vacances and are relieved to arrive at the miraculously affordable luxury resort they found online, where they are told that the resort driver (played a cameo by Shyamalan himself) can take them to a super secret paradise beach on the other side of the island, revealed only to special guests. The beach is indeed beautiful, but Guy and Prisca are baffled to discover that other guests have been made aware of the secret: super-rich rap star Mid-Sized Sedan (Aaron Pierre), irritable surgeon Charles ( Rufus Sewell) and trophy wife Chrystal (Abbey Lee), aging mother Agnes (Kathleen Chalfant) and baby daughter Kara (Kyle Bailey). There is also a nurse, Jarin (Ken Leung) and his partner Patricia (Nikki Amuka-Bird) who suffers from seizures.
At first, everything is glorious. But then there are sinister events. They can't seem to leave the beach. And strange thingsges occur physically. Agnès, already frail, noticed that her condition suddenly worsened; the wounds heal with extraordinary speed. Crow's feet appear on the faces. Children complain that their swimsuits are getting tighter and more uncomfortable. And the manners of a guest become more than mindless. One way or another, these people ended up at the beach at the end of the world. Perhaps these privileged wealthy consumers thought that this special place of wonder in the developing world would give them time to stop, while they forgot about their worries.
But maybe it's not really that their lifespan has been reduced to that of an instant. It is that a great human truth has been revealed to them - they have always been fleeting. N Now, in this accelerated nightmare, they can see what has been hidden from them: mortality. Andwith death coming at nightfall… they had better make up their minds on what they think about the people they love. Unless, that is, they can find a way out of the beach.
The Elements of Foolishness and Deadly Seriousness are well balanced and although I'm sure of the end, which maybe has an overly neat knot, it's just very nice and I was on the edge of my seat, not knowing if to flinch or laugh, although I did both. I loved the way the kids grew up while still being trapped in the puzzlement and resentment of a child. Time passed as I watched it.