MPAA Rating: PG-13/Genre: Found Footage Horror/Stars: Olivia DeJonge, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Kathryn Hahn, Patch Darragh, Celia Keenan-Bolger, Benjamin Kanes/Runtime: 94 minutes

If you had to make a list of the directors in the land of movie magic that have had quite the rather intriguing career trajectory then one name that you would without question put on that list would be none other than M. Night Shyamalan. Indeed, for those of you who somehow aren’t aware of this distinct individual, here is a guy who struck solid 24 karat cinematic gold with a little film from 1999 known as The Sixth Sense, cashed that gold in with two further hits in the forms of 2000’s Unbreakable and 2002’s Signs respectively, teetered slightly with 2004’s The Village, and then saw his career all but torpedoed thanks to a run of films, including a live action “adaptation” (note the quotes there) of Avatar: The Last Airbender that the less said about it the better, which all were either dismissed by either critics, the general movie going public, or both (even though let’s be honest: 2008’s The Happening is absolutely hilarious). As a result, not only was there a stretch of close to a decade where not only were studios incredibly leery of working with Shyamalan, but it really did start to appear like the man had seriously lost his mojo to say nothing of having turned into a Hollywood punchline rather than the viable prospect he had once been. Perhaps this is why, in the aftermath of his 2013 fiasco After Earth, the vast majority of audiences didn’t exactly have the highest hopes in the world when in the long-ago year of 2015, we all got word that Universal and Blumhouse would be releasing a new slice of cinema from this distinct individual known simply as The Visit (not to be confused with a film released the same year and of the same name albeit from Nigeria). Imagine my surprise then to tell you that this slice of cinema was by no means the disappointment that I think the vast majority of viewers, myself included I have no shame in admitting, most likely thought this was going to be. To be sure, this is by no means Shyamalan operating at the pinnacle of his abilities like he showcased for audiences in some of his earlier works and I must admit that the twist (because it just isn’t an M. Night Shyamalan film if one of those doesn’t happen) at the end of this film is one that, although creative, is by no means one that should prove all that difficult to figure out for you, the viewer. Even so however, there is no denying that, with the aid of solid enough work on both sides of the camera, The Visit is definitely a competently performed and made back to basics kinda film that definitely operates as a step in the right direction for Shyamalan that he would later go on to showcase in full a couple of years later with 2017’s Split.

The plot is as follows: Taking us at first to the locale of Philadelphia (again this IS an M. Night Shyamalan film we are talking about here), The Visit gets its narrative underway as we are introduced to our pair of heroes in the forms of a teenage girl and her brother named Rebecca and Tyler respectively. As the film gets underway, we see that the two are getting done with packing for an occurrence that a lot of other people would say is a seminal part of the human experience when one is growing up. That being that the two are getting ready to stay with their grandparents for a few days. Unlike a lot of other people however, this particular trip has a few distinct caveats to it. Those being not only are they going so their mom Paula can go on a nice and relaxing cruise with her new boyfriend alone, but also they have never met their grandparents before. Oh yes I guess I should mention that apparently years prior to the start of our teeny tiny little story here something went down between Paula and her parents that was so bad that apparently the three had not spoken in years. Here recently however, Paula found herself being reached out to on that super-duper convenient advancement in technology known as the Internet by her long-estranged parents who have asked her for the chance to meet their grandchildren hence the visit (and the title of the film incidentally). From there, we see that our dynamic duo are soon onboard a train headed for rural Masonville, Pennsylvania and quickly thereafter meet up with their grandparents John and Doris (or as they tell the kids to call them: Pop-Pop and Nana respectively) at the train station so they can head to the couple’s located in the middle of nowhere farm house. Upon arrival at the farm, we see that while the two kids are showered with plenty of love, affection, board games, and homemade cookies they are also told that there are two rules that they must follow to a t whilst staying there. Those being to never go into the basement on account of a mold problem and that bedtime is at 9:30 PM sharp at which time they must not leave their room for whatever reason. Yet whilst our dynamic duo agree to follow these rules and although their first couple of days with the grandparents seem to be fairly normal, it isn’t long before (surprise surprise) the grandparents’ individual and collective behaviors start taking a turn for the weird. Like weirder than might be expected weird. Thus as the days go by and the behaviors displayed continue to escalate in a rather disturbing manner we see our pair of heroes decide to engage in a little sleuthing. As for what that sleuthing reveals and the impact it has on Rebecca and Tyler that I think is something I will let you find out for yourself….

Now right off, it should be said that the work done behind the camera on this film, whilst not a home run by any stretch of the imagination, is still fairly well-done all things considered. This starts with the work done by Shyamalan in the director’s chair and I must confess that at first, I was a wee bit concerned here. Not simply because he was directing, but because he was directing a found footage movie. A subgenre of horror that has given me more than its fair share of headaches (to say nothing of bad movies) and yet, much like some of horror’s most iconic monsters, simply refuses to just give up and/or die. Preferably the latter, but I digress. Thankfully I can say that while he might not be the one to breathe new life into something that shouldn’t have gone on even THIS long, there is also no denying that at the very least Shyamalan does exhibit some brilliance in how he utilizes the concept. Indeed not only does he sidestep quite a few of the issues that I have had with it in the past, namely Grand Canyon-size holes in the story and the fact that the camera doesn’t know how to stop and take a breath once in a while. As a result, not only did I have less of a headache whilst watching this, but on a more serious note the story being told is actually conveyed to us in a rather coherent and straightforward manner thus making it quite simple to follow. It should also be said here that, much like his earlier works (Sixth Sense, Signs, Unbreakable), Shyamalan has also made the choice to make this film one that is very much a slow burn-type story. Yet, rather than detract from the film in a significant manner, this approach actually benefits it immensely since we are given enough mini jolts to keep us intrigued throughout before the major jolt drops a solid 20 or so minutes before the film is over thereby giving the third act a creepy unpredictability factor that not only ensures you have no idea where in the world this could head, but it also ensures that you are able to stay with the film the rest of the way. It also doesn’t hurt this slice of cinema in the least that it also has a sense of humor about the whole proceedings. Indeed I am aware that Shyamalan isn’t really known for having comedic chops whatsoever (unless you count the entirety of his movie The Happening or even his 2010 production Devil), but this film definitely shows he has a knack for it. I say that because not only are the majority of the jokes well-placed, but they also compliment the eventual terrors that come the audience’s way. Suffice it to say that when you also factor in brilliant work from the cinematography department at not only presenting this in a way that feels less like a theatrical film and more like a film being done by a young person (or child as I hear that they are also at times called), but also in making it feel like a throwback to such films as The Blair Witch Project and (yes) Paranormal Activity it’s clear that the work done behind the camera is more than willing to get the job done and is therefore able to do just that.

Of course, the other element that helps this film work on the level that it is ultimately able to achieve would have to come in the form of the work done by the small in number yet undeniably talented cast of players in front of the camera. Without a doubt in my mind, this starts with the one-two punch that is Deanna Dunagan and Peter McRobbie in the key roles of Becca and Tyler’s grandparents Nana and Pop-Pop respectively. Indeed in the hands of these two long-time talents, this pair of characters is able to do a terrific job at consistently walking that very thin line between sincere and sinister until either the movie requires them to engage in the truly out-there moments that are asked of them individually or at the very end when all heck is breaking loose. Yes there is definitely more I could say about these two characters, but (out of respect to potentially getting too close to the dreaded spoiler zone) all I will say is that both Dunagan and McRobbie are truly phenomenal here. Besides the absolutely spot-on work done by Dunagan and McRobbie, the film also provides audiences with a wonderful performance from Olivia DeJonge as Becca. Yes in movies like this one, this character would be our guide of sorts through this rather distinct situation and that certainly is what the character of Becca is. At the same time though, DeJonge does a wonderful job of giving this character shades of nuance and really making her less a stereotypical teen and more her own person especially in terms of her desire to be a filmmaker, her near-constant befuddlement at her little brother’s desire to rap about nearly everything, and even her resentment toward her and her brother’s father respectively.  Alongside the wonderful work done here by DeJonge, we are also treated to a terrific turn from Ed Oxenbould as Becca’s younger brother Tyler. Indeed this is a character that, based on the fact that he utilizes the majority of his screentime either making jokes, rapping, or yelling out the names of (I kid you not) pop stars as an effective Mad Libs-style manner for not utilizing other words that would get his mouth washed out with soap and this film slapped with an R, is definitely meant to be the movie’s comic relief. Yet unlike a lot of other actors who, if they even did one let alone all three of these things, would come off as just downright annoying if they did this for seemingly an hour and a half straight that is not the case with Oxenbould. This is because, in addition to his comedic tools he is working with, we see that the film also gives him a bit of dimension in regards to certain issues and phobias he has that may or may not come into play as the film goes on. As a result, we not only find the character endearing and empathetic, but also likable and who in Oxenbould’s hands provides the film with quite a few of its funnier moments. Lastly, I also feel that praise should be given to character actress extraordinaire Kathryn Hahn in the pivotal role of the kids’ mom Loretta. Yes she might have at most 25 minutes of screentime in this top, but even so Hahn does a wonderful job of bringing the right degrees of awkward yet genuinely funny comedy, a dash of suspense at just the right point, and even pathos into the mix including a moment at the end of the movie that is easily one of the more genuinely emotional and, dare I say, moving for a film made by M. Night Shyamalan since easily his work on The 6th Sense. Suffice it to say then that whilst there are definitely a few potholes to be found along this distinct cinematic trail, the work done by this cast of talented individuals definitely does its part to help make up for them and then some.

All in all and at the end of the day is The Visit a perfect slice of cinema by any stretch of the imagination? Honestly no, but in all fairness I think the only film of Shyamalan’s that you could argue comes the closest to that would be The 6th Sense (or Unbreakable depending on one’s perspective). Having said that however, is this the worst thing of his since the three-way tie (at least) between 2006’s Lady in the Water, 2010’s The Last Airbender, and 2013’s After Earth? (2010’s sinfully bad Devil doesn’t count since he only produced it rather than directed it). Much to my, to say nothing of my blood pressure and stress level’s, happiness I can definitely say that is not the case either. Indeed it might have more than its fair share of issues it is plagued with to say nothing of the fact that the twist is perhaps a wee bit more on the predictable side than I would’ve liked it to be, but this is nevertheless one slice of cinema that I definitely enjoyed at the time of its release all the way back in 2015 and I have still enjoyed quite immensely in the times that I have seen it since. Not only when I have seen it by myself whilst trying to find something to watch late at night, but also with other people who have no idea what in the world they are about to get themselves into. Thus when you throw into the mix more than capable acting from a game cast of performers in front of the camera and fairly solid work from the various departments behind the camera The Visit is more than just a story about a trip to see the grandparents gone more than a wee bit awry as directed by the guy who made plants our enemy or gave us a little boy who could see dead people in a movie. Rather, it is also a genuinely funny and thrilling cinematic outing that is sure to leave you on the edge of your seat and laughing in equal measure. Just make sure to not watch it with your own grandparents dear reader. Not just because this movie might not exactly be for them, but because if you do show it to them and they actually enjoy it then you might want to keep a bit of a closer eye on them from that point forward. Just food for thought dear reader….On a scale of 1-5 I give The Visit “2015” a solid 3.5 out of 5.