The Visit

The Good: The most surprising thing about this movie was how it uniquely found a way to be scary, but still include funny moments throughout the film. It knew when to be funny, and when to be scary, without mixing the two together. The scary parts will provide quite a few jump- scares, and in some scenes they will simply disturb you. The young boy, "Tyler" (played by Ed Oxenbould ), will quickly become a favorite in this film with his various remarks, "swearing", and "skills". I think it's fair to say that "Nana", played by Deanna Dunagan, does a really good job of playing the crazy grandma given all the versatile things she did in the movie. For some, the plot twist in the story will be mild, but good nevertheless.

The Bad: As we've come to know from director M. Night Shyamalan (The 6th Sense, Signs), the "big twist" is to be expected. Because of that, if you're an over-analyzer of movies like me, you'll probably see the twist coming from a mile away. So in that aspect, the story is mildly predictable. (That doesn't ruin the movie though) Many of the scary scenes you'll see coming, and for the most part are not terrifying to the point that will give you nightmares. It's very generic horror and scare tactics that we've seen before.

The Reason: Okay, so here's the real deal about this movie. M. Night Shyamalan is known for having a really bad reputation for putting out movies like Lady in the Water, The Village, The Happening, and others. He started off great with The 6th Sense and Signs, but since then, audiences have been generally disappointed. Luckily for The Visit, this movie was not one of his bad films. It was disturbingly funny and scary at the same time. This film is like his "makeup movie" to audiences. For example, in a relationship, if a guy messes up and constantly disappoints his girlfriend, he may give her flowers as an apology. Now the girlfriend may like the flowers, but that doesn't mean the boyfriend is completely forgiven. Shyamalan is in the same boat. The Visit is his "flowers" to audiences. We'll take it, but he's still got a lot more work to do to make up for all the other not-so-great movies he's given us.

Take caution if you decide to see it. It's a unique movie. Not a Hollywood blockbuster by any means, but I wouldn't be surprised if many would enjoy it. To see this movie I recommend: Go in with low expectations, pay the matinée price, and go with a friend or date. (You'll want to talk about it afterwards)

The Rating: 7/10

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In my opinion it's not even half as bad as people say it is. The movie is first of all entertaining which is one of the reasons why you would watch it? But also it is well made. The plot is very good and as far as i know original. The way it was filmed was great, any other way wouldn't be the same. I thought the director of this movie was great before and my opinion def didn't change after seeing this one. The acting was good. It says that it's a comedy/horror, you cant really expect to get scared in it like some people complain about. I wouldn't recommend it to a friend but it's worth the watch if you have spare time and don't know what to do with it.

I love horror and some flat out just suck but I have been wanting to see this one.

Tyler and Becca are sent to see their grandparents, whom they have never met since Papa and Nana had a falling out with their mother years ago. Some bad blood between them and Mom wants to go on a vacation with her boyfriend so she sends the kids to meet their grandparents for the first time. They live on a rural farm in the middle of nowhere with no cell service and little internet access.

At first they seem like a normal old couple but soon after it becomes obvious something is off esp with Nana. They maintain in constant communication with their mother. It is obvious Nana does not like to talk about their mother so the kids are still trying to figure out what the estrangement is all about. Things then get weird! A good solid flick. Great job M. Knight for keeping me entertained and scaring me a little

Ever since the mammoth success of The Sixth Sense (1999), there's been a push to promote every subsequent M. Night Shyamalan movie as a horror film. From Unbreakable (2000) to The Happening (2008) every new movie was sold as a dark and twisty shocker; whether it was in fact a poetic romance with pointed political commentary (The Village, 2004) or an eccentric bedtime story disguising a self- reflexive observation on the writing process (Lady in the Water, 2006) the marketing always made the film appear vaguely supernatural. Evidentally, these were films by the director of The Sixth Sense and were to be promoted accordingly. Now his most recent film, The Visit, is the latest in a long line of Shyamalan movies to suffer a similar fate.

The Visit - sold up front as "a new thriller from M. Night Shyamalan" - is nonetheless drawing heat from certain factions of the online community who just wanted another straight horror movie, dagnabbit! You'd think after two decades of subverting genre expectations, whether through presenting a superhero origin story as if a gritty 70s style procedural, or approaching an alien invasion movie as a claustrophobic Bergman-esque parable on faith, the audience would know the terrain, but again, all people really want from this guy is The Sixth Sense Pt. II or GTFO!

What The Visit could actually be described as is a comedy, albeit a comedy with elements of psychological thriller, survival drama and an extended metaphor for familial dysfunction. Imagine Todd Solondz, David Lynch and the Farrelly brothers getting together to collaborate on a film that plays with the tropes of the found- footage sub-genre, but in a way that is frequently transgressive, if not actually perverse. Throughout, Shyamalan uses his set-up to mine moments of genuine hilarity, from the broad strokes of character comedy (the young Tyler and his terrible rapping becomes the film's go-to comic relief), to the subtle self-aware digs at the genre itself (Becca's film-school pretensions lead her to deconstruct the film, almost as it's in motion), to even moments of grotesque absurdity (including scatological elements that are closer to the works of John Waters than the filmmaker once dubbed, erroneously, "the next Spielberg").

If The Visit is a horror movie, then it is to the found-footage sub- genre what Blazing Saddles (1974) was to the Hollywood western. It's not a spoof, but something else; a film that recognises the conventions and characteristics of the genre, teases them, has a laugh at their expense, but also uses them to tell a story that behind the laughter carries some serious emotions and ideas. Shyamalan's main theme of emotionally damaged characters having to overcome a particular situation to regain a sense of self is once again made the focal point of the film's third act dilemma, but there are more interesting ideas relating to the subject of filmmaking, in which the writer-director once again uses elements of meta-fiction to explore his own relationship to his art.

In the film itself, the two children are using the week with their grandparents to create a documentary that they hope will heal the wounds of a long-held disagreement between the mother and her parents. Here Shyamalan splits his own filmmaking identity between the perspectives of the two children. Beccas is the sensitive, romantic one, who just wants to make beautiful cinema, while Tyler is the annoying brat that just wants to goof around and get a response out of people. When it becomes clear that the film we're seeing on-screen is essentially the film Tyler and Becca are making, this introduces notions of identity, fabrication, the subjectivity of the image, reflection, the passivity of the viewer and the conception of character as "actors" playing a role. It's all very clever, but unfortunately, as with the meta-fiction elements of the earlier Lady in the Water, it becomes something that most audiences couldn't care less about unless they're actively watching an "art- movie" and not some Hollywood genre film.

Like several (but not all) Shyamalan films, The Visit features a twist, but rather than using it to pull the rug out from under the audience during the last few minutes of the film, the twist occurs 30 minutes before the end and is used to generate tension and suspense. In this instance, it could be described as an example of Hitchcock's "bomb under the table" theory, in which the audience is placed in a more privileged position than the characters, where our comprehension of events in relation to the ignorance of the protagonists fuels an edge of the seat confrontation.

The film has several successful jump scares, but these are essentially self-aware and again playing to the conventions of the genre, and more surprisingly several scenes of genuine emotion; however, for the most part, the film is just funny and often incredibly strange. Again, I go back to that idea of the film being pitched somewhere between Todd Solondz (shocking black humour, misfit characters, an air of detachment) and David Lynch (suburban surrealism, bizarre imagery that seems dreamlike but rooted in reality), but with the familiar Shyamalan ingredients. The film is incredibly well acted and directed, beautifully photographed by award winning documentary cinematographer Maryse Alberti (who helps Shyamaln turn it what could be described as a found-footage fairy tale) and greatly entertaining.

After having spent years squandering the studio money & garnering the wrath of film critics in his past few outings, M. Night Shyamalan takes a break from big-budget productions and decides to return to small-scale projects constrained by shoestring budget in an attempt to rediscover his creative side and with his latest feature, I'd say he has found it.

The Visit tells the story of two siblings who decide to spend a week with their grandparents at their farmhouse while their mother is planning a vacation with her current boyfriend. The two kids, having never met their grandparents in person before, find their company strange at first but as the days pass, they discover a deeply disturbing secret about their hosts.

Written & directed by M. Night Shyamalan, The Visit finds the director away from all sort of studio involvement, thus allowing him to rely on his creativity to overcome the restrictions imposed by its low budget and he does a really good job at it. The film makes use of all his trademarks and successfully blends different genres & shooting techniques into one solidly crafted thriller.

Shyamalan's screenplay isn't bad either. The plot is quite simple, the number of characters are kept to a minimum and all have relevant roles to play in the outcome and it's effectively brought to life on the film canvas. The found-footage camera-work is nicely carried out and its tight editing only helps in establishing an increasingly tense & suspenseful atmosphere, which is brilliantly sustained till the end.

The expected Shyamalan twist is also there, following which the movie becomes somewhat predictable and the pay-off isn't much rewarding. The performances are a definitely plus for the kids waste no time in becoming a nuisance, especially that 13-year old rapping douche, but it's actually their grandparents who leave the most lasting impressions with their eerie renditions, which only gets more menacing as the story nears its end.

On an overall scale, The Visit is a welcome return to form for M. Night Shyamalan after his lengthy string of critical & commercial failures and is a strange mix of horror & comedy that is able to balance the elements of both genres quite nicely. It does create a friction at times but for the most part, the narration is smooth. The few bad decisions taken in the picture lie within the characterisation range and as a whole, The Visit succeeds in delivering a thrilling movie experience, that comes loaded with odd laughs in between.