![]() ![]() ![]() Shyamalan is also known for his twist endings, despite the fact that the vast majority of his movies do not contain one. That was literalized in his previous movie, Old, where a family gets trapped on a beach that ages its inhabitants rapidly and mercilessly he comes at it from another angle in his new project Knock at the Cabin. ![]() For that matter, many of his adult characters are kids at heart, not in the sense of carefree joie de vivre but in the ways they’re forced to make seemingly impossible choices before they’re ready. But some of Shyamalan’s stranger hallmarks as a writer of dialogue and behavior - overly declarative statements, comic-relief asides as awkward as they are funny, a tendency to process shocking information with a combination of underreaction and helplessness - are perfectly suited to the lives of children. Most Hollywood movies (and, for that matter, plenty of indies) are profoundly incompetent at matching believably written child characters with unaffected child performers throw in the vagaries of different ages and stages, and you wind up with movies where five-year-olds act like they’re 10, pre-teens talk like miniature adults, and three-year-olds are treated like infants. Night Shyamalan has received over the sometimes eccentric, sometimes robotic and sometimes eccentrically robotic quality of his dialogue writing - has anyone been given the tedious prescription to “direct someone else’s script” more frequently? - he often has an uncanny ear and eye for the rhythms of how children speak and behave. ![]()
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