Like Kiyoshi Kurosawa, Shyamalan continues to tighten his trick box economy of tropes and archetypes. Characters are defined by their job, their sexuality, their race, their religion, and strictly act accordingly. Knock at the Cabin sticks to these rails and a crystal clear cause and effect progression, so glides as fast, carefree, and effortlessly as ever. Then, forming his classic tension, he hangs over that didacticism a single unanswerable question that he may or may not resolve for you, from under which he may or may not pull the rug. This story fits that formula like a glove.

I never left your side M. Night, and not even ‘not even’ after Last Airbender, which was fun, yall. 🤷🏻‍♂️

And when have you ever been able to take your eyes off Dave Bautista? I’m obsessed!