Where was old filmed?
Filming in the idyllic Dominican Republic, his inventive camera-work is fascinating, as he cleverly changes the casting, substituting Thomasin McKenzie as older Maddox and Alex Wolff as older Trent. Westport NewsGranger on Film: ‘Old’ puts a supernatural twist to a beach day
Will the movie Old be streaming?
The thriller isn't streaming right now. Shyamalan's fans will have to catch the film in a theater near them. Moviegoers can buy tickets via Fandango, AMC, Regal, search Google or check out a theater near you for listings. “Old' is distributed by Universal Pictures. pennlive.comM. Night Shyamalan’s ‘Old’: background, plot, trailer, how to watch
Is old on HBO?
Old is distributed by Universal. It's available only in theaters for now. It's set to stream on HBO Max eventually, just not until late this year or early next. HBO has what's known as a pay-one licensing deal with Universal, which means HBO is the first place Universal's movies are shown on TV or streaming services. CNETOld, Snake Eyes aren't streaming on HBO Max, sorry
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27 July, 2021 - 03:10pm
M. Night Shyamalan’s new movie has a trailer that eerily resonates with our strange times; and that’s enough for me.
Let me say up front that I do not expect to see M. Night Shyamalan’s latest movie, “Old,” which arrived in theaters last week, for no other reason than that I am traveling and haven’t set foot in a theater in almost two years. But in the past few weeks, I have watched its trailer over and over, enthralled by its combination of existential horror and unintended humor. The trailer introduces us to some people who become trapped on a remote beach, where they begin to age at an insanely accelerated pace. Naturally, they try to figure out what’s happening, floating theories and freaking out. This being a Shyamalan film, the trailer promises they will spend a lot of time looking confused and concerned — the same facial feat Mark Wahlberg sustained across the running time of “The Happening” — and yelling at one another, demanding explanations.
This is a familiar, Manichaean, Shyamalan-ish universe: A diverse group of bewildered souls, alone in a menacing void, earnestly playing out whatever endgame logic the scenario dictates. (It’s as though the director were compelled to continually make big-budget versions of “Waiting for Godot” — you think he can’t go on, but he’ll go on.) So we see a family on vacation, headed to the beach. The cast is soon filled out by others: a couple, a 6-year-old girl, a woman in a bikini making smoochie faces at her phone, two more men. Soon enough, the kids find things in the sand: rusted items from their hotel, cracked sunglasses, late-model iPhones. A young bleach-blonde corpse bobs toward a boy in the water. (She did not die of old age, but will decompose in hyperlapse.) Then the real aging begins. Parents confront their kids’ sudden adolescence. The 6-year-old girl grows up, becomes pregnant and gives birth on the beach. Some greater force is afoot, be it fate, God, time, Facebook or nature. Whatever it is, it clearly doesn’t care how many travel rewards points or memory-making family vacations you had in real life.
Near the start of the trailer, Vicky Krieps’s character dreamily tells her impatient children: “Let’s all start slowing down.” Then everything starts speeding up. At some point she turns to her husband and exclaims, “You have wrinkles!” (The horror!) But of course “Old” will not be an allegory about the importance of sunscreen. What we’re being shown here looks far more like a meditation on mortality wrapped in a cautionary tale about our accelerated lives — about the scariness of time flying and kids growing up too fast, of bodies going to hell and the inescapability of death, and about the ravages we’ve visited upon the Earth, which will remain blanketed in all our fancy garbage long after it has turned us to dust.
Part of what’s so captivatingly strange about the trailer is the way it takes a movie that compresses life into a couple of hours and then compresses that into a galloping two-and-a-half-minute highlight reel. Its breakneck, parodic pace calls to mind Tom Stoppard’s “15-Minute Hamlet,” in which all the most famous scenes from Shakespeare’s play are crammed (twice!) into a quarter of an hour. (In a film adaptation I once saw, Ophelia drowned herself by plunging her head into a bucket.) The title alone reduces the existential horror of the premise to a midlife freakout.
The graphic novel from which this movie is adapted — “Sandcastle,” written by Pierre Oscar Lévy and illustrated by Frederik Peeters — was inspired by Levy’s memories of childhood holidays. “He used to travel a lot to a beach exactly like this one, in the north of Spain,” Peeters told the comics site CBR. “Later, he went back with his own children, and one day he had this idea.” The beach could serve as a microcosm of Western society, “with some of its strong basic figures.” This was not a thriller, Peeters said — “it’s a fable.”
Shyamalan may be best known for his last-minute twists, but this was an option the “Sandcastle” authors ultimately decided against. According to Peeters, Levy had written a resolution to the story, a final twist — “but we finally decided it was useless, and would have destroyed the frightening dimension of the book.” The frightening dimension, of course, is that there is no escaping time, or death — and neither is there any simple revelatory twist in life that will explain what you’re meant to be doing with your time here.
Anyone converting this source material into a movie has a choice to make: Either you embrace the terrifying meaninglessness of our short lives, or you try to offer consolation with a resolution to the story. The trailer tips its hand that Shyamalan has chosen the latter: The last words we hear are Gabriel Garcia Bernal’s character saying, “We’re here for a reason!” Maybe we are and maybe we are not, but my time on Earth is limited, and any story that attempts to wrap up the problem of life will feel like a waste of it.
As I watched this trailer over and over, I was also, coincidentally, in Spain, where I lived for many years while growing up. I am writing from my brother’s new apartment in Madrid, which happens to be next door to the childhood home of a childhood friend. Walking my dog past her building, then meeting with her later, I find myself dwelling on the trailer, on the nature of time passing, on how compressed and accelerated it can feel. It’s strange to sit across from people you met in elementary school but haven’t seen in years. It makes you feel like the couples in the trailer, watching their spouses transform into their future selves. Time seems to pass at an accelerated rate when you return to a place periodically, over a long period, with large gaps in between.
During the past year and a half of paralysis — this remote, isolated, slowed-down time, during which some of the most privileged among us were able to isolate in safety and comfort — it could seem as if the future were on hold. (It was not.) Time felt endless and slow until, for me, it accelerated significantly. I lost my mother suddenly. After 18 months of not traveling anywhere, I came back to the city where I lost my father, where my nephews were born, where my parents’ still-living friends have become elderly. It is funny to see how much has changed, and which things never change. I met a friend at a gallery opening and mentioned on arrival that I’d forgotten to iron my dress. He seemed happy to hear this: “You’re still you!” he said.
Perhaps, for some of us, last year felt like a pause. But there was no pause. There never is. You look away for a moment, and your kid is tall. Your dog is old. Friends move away. You begin to wonder where this is all going. What’s the twist? When will it arrive? And then maybe you realize where you are, which may be a very old city — old to you and old in history, though not as old as some — and here you are, repeatedly watching a trailer for a movie, feeling a strange feeling.
Carina Chocano is the author of the essay collection “You Play the Girl: On Playboy Bunnies, Stepford Wives, Train Wrecks and Other Mixed Messages” and a contributing writer for the magazine.
27 July, 2021 - 03:10pm
The Academy Award-nominated writer-director won over audiences with the horror flick The Sixth Sense (1999). He kept up the successful streak with the chilling superhero story Unbreakable (2000) and heart-wrenching alien invasion tale Signs (2002).
Then, things took a turn for the confusing with period thriller The Village (2004) and exhausting mermaid suspense story Lady in the Water (2006). This apparent quality nosedive culminated in total catastrophe with apocalyptic thriller The Happening (2008), one of the silliest films ever made.
Shyamalan's reputation stayed lukewarm across found-footage film The Visit (2015) and Unbreakable sequels Split (2017) and Glass (2019). But with his latest release now in theaters, there's never been a better time to revisit his divisive, extraordinarily hit-or-miss body of work.
As someone who gave Old a positive review (I stand by it!), this emphasizes to me the role personal preference plays in enjoying Shyamalan's work. It seems to me what you expect from a thriller hugely impacts whether you walk away satisfied at the end of a Shyamalan film.
With this in mind, I've rewatched and ranked every Shyamalan thriller, spelling out what makes some titles work better for me than others. YMMV, but that's true of every director.
The Bruce Willis-starring superhero thriller Unbreakable came out before the Marvel Cinematic Universe existed. So you'd think that'd be the film to understand the world of comics the least.
But, nope. That distinction goes to Glass, the final film in the Unbreakable franchise that somehow manages to make superpowers lame and three great actors boring. Samuel L. Jackson and Will reprise their roles from the original film, and James McAvoy returns as his character from the other Unbreakable sequel Split. Sarah Paulson joins the cast as Dr. Ellie Staple, a psychiatrist.
Easily the worst Shyamalan thriller, Glass took the Unbreakable franchise — and, well, broke it. If you're dying to see more of this world after watching the first two, cue it up. Otherwise, it's a pass.
Starring Paul Giamatti as an apartment superintendent who skims way more than he was expecting out of his building's pool, Lady in the Water is an overly contrived fairytale thriller best described as goofy. That said, Bryce Dallas Howard delivers an interesting enough performance as a nymph-like being named "Story" — yes, it's as awkward to hear in dialogue as you'd imagine — who has to fight her way back to her underwater home after magically appearing in urban Philly.
The titular lady in the water isn't particularly well-written, her world never feels truly believable, and Shyamalan's cameo here is easily his most cringe-worthy. Still, Lady in the Water is a good on-in-the-background pick for its ethereal visuals. Just don't try to follow or care about it.
How to watch: Lady in the Water is now streaming on Cinemax (via Hulu).
In The Happening, something is "happening." At least, that's what every character, including those played by Succession's Alan Ruck and Jeremy Strong, tells us during this apocalyptic snooze fest.
Though Shyamalan is often lampooned for his twist endings, The Happening is one of the most banally straightforward apocalypse films ever written. Flimsy stakes and unlikable characters — stars Zooey Deschanel and Mark Walhberg have never been so unappealing — make this difficult to enjoy as a suspenseful survival thriller.
But if you turn it into a drinking game or opportunity for heckling, then you're in for a very fun watch. Count for example how many times hero Elliott, played by Wahlberg, asks himself a rhetorical question out loud versus how many facial expressions he has. (Answer: Too many, and 1.)
How to watch: The Happening is now streaming on Peacock.
On the off chance you haven't had The Village spoiled for you yet, I won't say too much about its ridiculous plot. That said, this bizarre period thriller is among the more divisive Shyamalan films out there with a lot more going for it than critics at the time of release gave the movie credit for.
In her first collaboration with Shyamalan, Bryce Dallas Howard stars as Ivy Walker — a young woman living in a small Pennsylvania town in the 19th century. Though the settlement has been able to live in peace for years due to an ancient agreement, monsters surround the village and the threat of their attack always looms.
Joaquin Phoenix, Adrien Brody, Sigourney Weaver, and more round out the cast of what is at the very least a memorable film, with an ending best seen rather than explained. Seriously, the 180 this thing pulls is just unparalleled.
How to watch: The Village is now streaming on Peacock.
The better of the two Unbreakable sequels by a wide margin, Split doesn't have all that much to do with superheroes and, aside from that post-credits scene, doesn't include characters from the original. Still, James McAvoy's jaw-dropping performance as Kevin Wendell Crumb, a dangerous man with 24 distinct psychological identities, is a cinematic experience to behold.
Anya Taylor-Joy, Haley Lu Richardson, and Jessica Sula co-star as three teenagers captured by Kevin and kept in an underground facility. Their tense fight for survival grounds the film — and while it's not consistently compelling, this story will leave an impression.
The latest Shyamalan nightmare takes us far away from the writer-director's typical filming location of Philadelphia to a remote tropical island, where Guy (Gael García Bernal), Prisca (Vicky Krieps), and their children Maddox (Alexa Swinton) and Trent (Nolan River) are hoping for a great vacation.
But when the family becomes trapped on a sinister beach — yes, one that makes them old! — things take a turn for the dire. Undeniably awkward, a bit silly, and still pretty effective, Old takes a bonkers premise to its most extreme and, in my humble opinion, sticks the landing.
If there's a true hidden gem in Shyamalan's catalog, then it's got to be The Visit.
When mom Loretta (Kathyrn Hahn) sends her kids Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) on a trip to meet their estranged grandparents, she expects they'll have a quiet vacation. But soon after the kids arrive, Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie) begin acting strangely.
A found-footage film made by aspiring documentarian Becca captures everything that comes next. It's a nauseating, gut-wrenching nightmare filled with some surprisingly light moments and a stellar performance from DeJonge. You'll laugh. You'll scream. You might throw up. You've been warned.
The awesome movie that (for better or worse) made Split and Glass possible, Unbreakable tells the story of David Dunn. David, played by Bruce Willis, wakes up in a hospital to discover he is the lone survivor of a train derailment that killed more than 130 people. Discovering why, with the help of Samuel L. Jackson's comic book-loving Elijah Price, grounds the rest of the film.
More than 20 years after its release, Unbreakable remains a gripping mystery that changed the game for superhero films. With a voice that's especially original for its time, this hero's journey is full of unexpected twists and turns that stand out even now.
Signs is a great movie — if you can stomach watching a performance by Mel Gibson.
Over the years, Gibson has been heavily criticized for making racist, antisemitic, homophobic, and sexist remarks as well as been accused of domestic violence. As a result, Shyamalan's stirring tale of an alien invasion, which stars Gibson, hasn't aged as well as it could have.
That said, if you choose to watch Signs anyway, you'll enjoy a wonderful performance from Joaquin Phoenix as the uncle of two children, played by Abigail Breslin and Rory Culkin, as they wait for extraterrestrial life to descend on Earth. It's a moving story that elevates the art of the twist ending — even more than The Sixth Sense in my opinion — and features an all-time great jump-scare.
How to watch: Signs is now streaming on Peacock.
The Sixth Sense earned Shyamalan both of his Oscar nods, and with good reason. In this emotional ghost story, 10-year-old Haley Joel Osment plays Cole Sear, the iconic boy who can see dead people, opposite Unbreakable's Willis as Malcolm Crowe, a child psychologist.
Convincing lead performances, a scene-stealing turn from Toni Collette as Cole's mom (her second-best horror movie after Hereditary, obvs), and a killer ending help sell The Sixth Sense as an all-time great scary story. You probably already know The Sixth Sense's "big twist", but it's Shyamalan's keen understanding of spirituality and meticulous crafting of tension that make this 1998 film a classic.
How to watch: The Sixth Sense is now streaming on Peacock.
27 July, 2021 - 09:39am
In M. Night Shyamalan’s “beach that makes you old” movie, the aptly titled Old, the director returns to a familiar fear: What happens when a parent fails to protect their child? Since his 1999 breakout, The Sixth Sense, Shyamalan has populated his idiosyncratic universe of anxiety with parents who fail to parent, mentors who fail to instruct, and doctors who fail to cure. Across his filmography, characters find themselves facing extraordinary situations because a person of authority falls short.
Paternalism isn’t the solution for Shyamalan. He frequently depicts parents and guardians that endanger their kids. This theme is present throughout his work: David Dunn admits to neglecting his son, The Village’s Edward Walker (William Hurt) and the Elders create a faux old-timey town to isolate their children from the violence of the modern world, Split’s Uncle John (Brad William Henke) abuses his niece (Anya Taylor-Joy) on a family hunting trip. In one of The Sixth Sense’s most upsetting sequences, a woman poisons her daughter in a disturbing depiction of Munchausen syndrome by proxy. Amid supernatural occurrences, Shyamalan taps into real, everyday horror, depicting these crimes as otherworldly in their cruelty and as common as a cold.
26 July, 2021 - 07:26am
Old follows a family who learns that the secluded beach they are staying on is causing them to age extremely fast, reducing their lives to a single day. So while the characters in the movie were busy chasing the clock, the Internet made sure to not waste any time in making Shyamalan's new thriller a viral sensation — and we feel like it might be one for the ages.
Old wasn't just a hit with the Internet, it was also a hit at the box office. The movie secured the #1 spot with $16.5 million in the US and $6.5 million overseas. While this may be Shyamalan's lowest opening weekend in history, the director self-finances his films and keeps budgets low, meaning the projects don't have to rake in as much as other director's films to be profitable.
Adele Ankers is a freelance writer for IGN. Follow her on Twitter.