Marmite writer-director M. Night Shamalayan returns with an ambitious time-centered horror film almost certain to divide audiences who arrive on its shore. Bringing a new-to-screen concept, as well the typical twists and turns expected from a Shyamalan effort, is Old worth the growing old with?
A presumed paradise becomes a waking nightmare after a carefully selected group of holidaymakers are invited to a private beach where the rules of time appear to operate differently. Starring an impressive ensemble including Vicky Krieps, Gael Garcia Bernal, Rufus Sewell, Alex Wolff, Thomasin McKenzie and Eliza Scanlen, it is based on the graphic novel 'Sandcastle' by Pierre Oscar Levy and Frederik Peeters
Old is no different to the majority of Shamalayan's previous efforts in that it will completely split viewers down the middle. On one hand, it's an ambitious and consistently intriguing concept that rarely relents across its runtime; but on the other, it's rather messy in its execution and doesn't completely fulfil its promise. From a directing standpoint, Shyamalan employs some interesting camerawork through cinematographer Mike Giolakis. Conveying a real sense of uncertainty by exacerbating the tension crucial to an unnerving atmosphere that enthrals you from beginning to end; while it can occasionally feel overly-directed and too rigidly measured at times, this isn't a massive distraction, and the basking in the beaches' deceptive beauty like this almost pulls you under its alluring spell.
With some genuinely wobbly dialogue that sounds like it has been written by somebody who has never held an actual conversation, it is the writing that holds Old back. It can be distractingly contrived and laden with dialogue used only to propel the narrative forward, without any consideration as to whether it is making any logical sense. But there was something that struck me shortly after watching: if you can position the idea in your mind that the bizarre dialogue and conversation structure is a result of an unnatural environment that causes such distortion to reality and what is considered 'normal', you can perhaps justify what initially feels like a difficulty as a purposely consequence of their surroundings -- nothing makes sense because, well, nothing makes sense. It may be a stretch, but it nevertheless worked for me.
It would be ignorant to suggest that the cast is prevented from reaching the height of their collective power by some silly dialogue, but on the whole, everybody plays their part in the ensemble with solid group chemistry between all. As the relationship between the various groups that find themselves on the beach begin to fracture, the dynamic becomes increasingly exciting as personalities clash and secrets emerge. Bernal is a standout, Wolff steps up in the second act with Lee gloriously serving camp. As with many ensembles, a handful are underused, with Scanlen perhaps the biggest victim of this: her relationship with Wolff requires more room to develop for the emotion of their endpoint to land with the weight it deserves.
Old is an admirable film that stumbles over itself at times but ultimately achieves the most important thing a genre flick like this should be - entertainment value. Many films released, and created, during the pandemic (intentionally or not) have dealt with the theme of time, but Old has come the closest to reflecting those ageing-by-the-day lockdown feelings. With a central concept as exciting as this one, and presented with unrelenting intrigue that pulls you in deeper with every passing minute, Old mostly manages to overcome its flaws to offer a thoroughly entertaining and creative genre flick.