The Visit

Released:  September 11^th, 2015

Rated:  PG-13

Distributor:  Universal Pictures

Starring:  Olivia DeJonge, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Kathryn Hahn

Directed by:  M. Night Shyamalan

Written by:  M. Night Shyamalan

Personal Bias Alert:  went in with low expectations, rooting for a Shyamalan comeback

4.5 of 10

            M. Night Shyamalan is not a man who strays far from his strengths.  After two traditional and largely forgotten films (ever heard of Praying with Anger or Wide Awake?), Shyamalan found his wheelhouse in the delicate blend of psychological thriller, science fiction/fantasy, and horror, with the occasional side of comedy thrown in just to impress us.  As we all know, his execution of this stew has varied quality-wise, and after a rough patch he returns with this low-budget effort funded through his own studio.  Shyamalan has openly stated that The Visit is a passion project, an effort to return to the total control he had at the height of his success, but a second set of eyes might’ve helped Shyamalan smooth out the edges of this uneven film.

            In the best of times, Shyamalan’s genre elements tie directly into his character’s deep-rooted fears.  Signs was about faith, The Sixth Sense about connection, and Unbreakable about greatness.  Searching for this trademark in The Visit leads to the first signs of trouble, as his attempts to comment on the pain of familial rejection is noticeably disconnected from the horror.  On the surface, The Visit is about two kids who take a creepy trip to their grandparent’s house.  Just underneath that is a labyrinth of broken families that affects nearly every character in substantial ways, and while it’s mined for a few surprisingly touching moments, this emotional core never connects with the rest of the film.  This failure to blend the elements around a central theme leads to a major letdown in the third act when all hell breaks loose in an inorganic and incongruous ending.  In fact, the horror is the element that works the least, as its PG-13 edit leaves little room for physical threats and Shyamalan’s ideas for major scares come off as hokey.  It’s telling that the film is being marketed as a thriller despite having some clear attempts at horror.  There’s just not anything here that’s actually that scary.

            The other element that’s been played up in the marketing is the comedy, and this is perhaps what the film should’ve stuck with.  Most of The Visit is infused with a consistently chuckle-worthy sense of humor, and while it’s all pretty lowbrow stuff (look, the white kid raps!), it undeniably works.  Ed Oxenbould, who plays said white rapper, has some real comedic chops, knowing when and to what degree to ham it up.  As the dweeby younger brother, he gets the broader role when compared to Olivia DeJonge’s driven Becca, but both young actors navigate the film’s varied tone surprisingly well.  Considering that they are the only ‘normal’ characters throughout most of the film, their ability to sell every moment saves this from being an utter disaster.  In a supporting role, Kathryn Hahn brings just the right emotional punches as the kids’ mom.  This may sound like an oversell, but I swear to you that her performance in the train station scene is perfect.

            In fact, the core family works really well, and if Shyamalan had figured out how to match this grouping with equally fleshed-out antagonists then he might’ve had something special on his hands.  But alas, the grandparents remain peripheral characters, lurking figures that are at best in major need of assisted living.  Deanna Dunagan and Peter McRobbie play them with gusto, but it’s clear that they’re only there to give the audience and the kids the creeps.  Shyamalan used to understand how much a well-rounded bad guy can add to a film, but here they remain flat as the floor.

            Despite these problems, The Visit remains a step in the right direction for Shyamalan.  He has a natural ability to entertain, and this genre-bender will keep you on your toes.  At my screening, there were people who laughed throughout and others who were jumping out of their seats.  However it works best for you, at least it will give you hope for better things to come.

Other Notes:

Ø  The climax for the girl is especially disappointing.

Ø  Yes, this is styled as a found footage film, but it doesn’t become obtrusive.

Ø  Shyamalan claims to have a cut that’s pure comedy and another that’s pure horror.  I wonder if we’ll get those on the DVD.