“The Visit” A Chilling Family Reunion: Secrets Unveiled in Shyamalan’s Uneven Thriller
In M. Night Shyamalan’s latest horror-thriller, “The Visit,” an unsettling family reunion takes a dark and twisted turn, with Grandpa harboring disturbing secrets and Grandma engaging in eerie nighttime behavior. The film, shot through the perspective of two tech-savvy children, features strong performances and an atmospheric setting, but unfortunately, most of its scares and humor land with a dull thud rather than the intended impact.
Despite Shyamalan’s track record since the near-perfect “Sixth Sense,” fans have held onto the hope that he could recapture the magic. After the disappointing “After Earth” and “The Last Airbender,” this low-budget return to the horror genre has stirred excitement among his followers. This anticipation might fuel initial ticket sales, as audiences are drawn to the promise of straightforward horror, though word-of-mouth might eventually slow down its momentum.
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The film opens with a striking scene where a mother, portrayed by the excellent Kathryn Hahn, shifts from playful antics to tears as she bids farewell to her children at a train station. After this powerful moment, however, her character is mostly relegated to occasional Skype calls, a vital but somewhat underwhelming aspect of the narrative.
To give their mother some alone time with her boyfriend, teenagers Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) agree to spend a week with their grandparents on a Pennsylvania farm. This is no small gesture, considering they’ve never met their Nana and Pop Pop (Deanna Dunagan and Peter McRobbie). However, the siblings, particularly Becca, see this as a chance to create a documentary that might bridge the mysterious gap between their mother and her parents—a rift she has never explained.
Nana and Pop Pop remain tight-lipped about the past, but soon the children’s attention shifts to more immediate concerns, like Nana’s bizarre, often naked, nighttime fits and Pop Pop’s disturbing hoard in the shed. Becca, determined not to fall into the trap of fearing the elderly without cause, tries to rationalize their odd behavior, even as Tyler actively seeks out more unsettling clues.
Throughout their stay, the siblings continue filming their documentary. Cinematographer Maryse Alberti captures the feeling of an ongoing project, using the kids’ cameras and laptops to deliver a mix of reality-show interviews, off-kilter framing, and night-vision scenes reminiscent of “Blair Witch.” However, Shyamalan’s use of these techniques becomes tiresome and fails to generate the expected tension.
The film’s self-aware tone, playing on the concept of a movie within a movie, introduces a layer of humor to its jump scares and twists. However, Shyamalan’s attempt to satirize rural life and fairy-tale fears often feels more mechanical than thrilling or funny, despite the cast’s strong performances—particularly the eerie oddness of Dunagan and McRobbie’s unsettling calm.
The wintry rural setting contrasts sharply with the mother’s sunny cruise ship vacation, communicated through Skype. Shyamalan and Alberti manage to keep the visuals engaging and cohesive, while Naaman Marshall’s clean, minimal farmhouse design steers clear of the usual overdone horror sets.
The film’s exploration of decay and decomposition—symbolized by those soiled diapers—might pique the interest of a Jungian therapist, but these darkly memorable moments are surrounded by much less engaging content. Even Tyler’s attempts to lighten the mood with his raps fall flat. When the big twist is finally revealed, it evokes more of a mild “hmmm” than the intended shock.
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Despite its flaws, “The Visit” does have an emotional anchor in Hahn’s character, who, though mostly absent, brings genuine warmth and authenticity to her scenes. She’s tasked with delivering the film’s moral lesson, and despite its heavy-handedness, her performance resonates.
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