Review: THE VISIT (2015)

I was at my local video store the other day to grab a copy of JESSABELLE when, seeing my selection, an employee struck up a conversation about contemporary horror films. I mentioned that my cousin and I were going to see THE VISIT later that evening and was surprised to learn that the guy, despite being an obvious genre fan, had no intention of ever seeing M. Night "Sixth Sense" Shyamalan's return to horror. In his mind, because Shyamalan's last few projects had been largely disappointing, there was little to no chance that THE VISIT would be worth his time. Well, here's a twist he didn't see coming: THE VISIT is effectively unsettling, surprisingly funny, and, at times, very reminiscent of the films that first put this talented, if inconsistent storyteller on the map.

Mo'Fuckin' M. Night playing the world's smallest violin for everyone upset over Airbender.

THE VISIT follows two children, Becca and Tyler, played by Olivia DeJonge and Ed Oxenbould, who decide to visit their estranged grandparents at their remote country home. Becca and Tyler's mom, played by Kathryn Hahn, is very opposed to this, though, having had a falling out with her parents which she refuses to talk about. We're left to wonder what happened as Becca, who shares our curiosity, probes her mother and grandparents for answers, hoping to ultimately discover an "elixir," closure that will end her mother's emotional turmoil. Becca's intentions aren't completely selfless, however, as the pint-sized Povich always has her cameras rolling on the family drama. I suppose "drama" is somewhat of an understatement, though. "Shit storm" (literally) seems more apt, because as Becca and Tyler quickly discover, Nana and Pop Pop are fucked up. I want to avoid any potential spoilers, so suffice it to say that a cupboard full of expired canned goods and stacks of yellowed Reader's Digests, the stuff you'd usually expect to find at your grandparents' house, definitely pale in comparison to the Ed Gein shit Becca and Tyler discover.

Shyamalan is back doing what he does best, creating unbearable tension that has you squirming in your seat. Becca and Tyler investigating strange noises outside their bedroom door features nearly as prominently in my nightmares as Kyra entering Cole's tent in THE SIXTH SENSE, or that traumatizing Brazilian birthday party footage in SIGNS. Shyamalan always seems more interested in making our skin crawl than in making us jump, and it gives his films a certain haunting quality. I can honestly say that since seeing SIGNS, I haven't attended any birthday parties in Brazil.

I ought to mention that this is a found footage film, i.e. the characters themselves are supposed to have filmed what we're seeing. This is certainly well-trodden ground, but THE VISIT distinguishes itself by frequently forgoing the whole shaky realism thing. For a director, there's very little glory in making a found footage film, because when it's done well, it looks like you didn't do anything. Of course that's the point; these movies are made to appear as though they were shot by security cameras and ill-fated teens with iPhones, not USC grads. I imagine that this would be difficult. Most directors must be concerned with showcasing their talents, and those just aren't immediately apparent in a found footage film. Shyamalan circumvents this whole dilemma, though, making Becca a talented aspiring documentary filmmaker... It seems sort of cheap, I know, but the whole thing works. We feel as though we're right in the thick of things, and those things are all well lit and framed, etc.

THE VISIT also distinguishes itself from, say, Paranormal Activity, by showcasing a very strong cast. Look, I enjoy the PA series—I'll be at Ghost Dimension opening night—but nobody watches those movies for the performances. I expected similar degrees of hamminess, or worse, straight dickheadedness (looking at you, Micah from PA 1) here, but everyone holds their own, even Oxenbould, who first comes across as irksome, looking like a lost Sprouse brother and rapping under the name "T-Diamond Stylus," but eventually proves to be charming and funny. Deanna Dunagan undoubtedly steals the show though, effortlessly transitioning from sweet old lady to something akin to the cellar hag in EVIL DEAD. That she's able to communicate an underlying sinisterness while still maintaining an air of sweetness that Becca and Tyler might believably buy is impressive. Peter McRobbie, for his part, keeps pace as Pop Pop, but his performance is far less subtle. We know he's probably unstable when we get to the timeworn "guy's probably unstable because he's really into chopping wood" scene, à la THE AMITYVILLE HORROR remake. That being said, the award for most fucked up moment definitely goes to Pop Pop, or "Poop Poop," more like (I know, I hate myself too).

Now, if you'll allow me to awkwardly transition from poo jokes to real talk, it's been a few days since I saw THE VISIT and I can honestly say that the film has stayed with me. Interestingly, though, when I close my eyes and my mind is left to wander freely through the dark corners of my imagination, it isn't the image of crab-walking pensioners that assail it. Pop Pop wielding an ax is frightening, to be sure, but what's far more frightening is his conviction that he's late for a costume party, one he likely attended 20 years earlier. Both Nana and Pop Pop seem to exhibit symptoms of dementia, a frightening condition often associated with aging. In this way, THE VISIT touches upon a very real fear for many people, myself included, having witnessed the effects of dementia firsthand, and while it's certainly no AMOUR, this realism elevates THE VISIT above most found footage films, and disturbs you on a far deeper level.

So, video store guy, THE VISIT is most definitely worth your time. I sincerely hope that it helps Shyamalan to get back in Hollywood's good graces, which, at the end of the day, all depends on (ass-tons of) money. At the time of writing, THE VISIT has made around $25.6 million its first weekend, just shy of THE SIXTH SENSE's $26.6 million opening weekend gross, which is fantastic, considering that THE VISIT was made for a mere $5 million that Shyamalan allegedly kicked in himself. THE SIXTH SENSE, comparatively, cost $40 million to make. Only time will tell how THE VISIT will fare commercially, but artistically, the film succeeds, and for horror fans pining for the days of old when a new Shyamalan film was a big deal, that's reason to celebrate.