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M. night shyamalan’s ‘old’: film review.

Starring Gael García Bernal and Vicky Krieps, the filmmaker's latest contrasts a lush tropical destination with a baffling disease of the flesh.

By John DeFore

John DeFore

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Landing somewhere between The Happening and The Village on the Shyamalanometer of Narrative Gimmickry, M. Night Shyamalan ’s Old places a dozen or so travelers together on a remote beach, then watches them live the rest of their lives in a day. Facing a strange phenomenon that greatly accelerates the aging process, strangers must collaborate in search of escape even as time worsens their deficiencies and the director strains (with ostentatious camera movement and some stunning scenery) to keep things from feeling like a Twilight Zone morality play.

Viewers who can take it at face value may find a chill or two here, but ultimately Old can’t escape the goofiness of its premise long enough to put its more poetic possibilities across successfully.

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Release date: Friday, July 23

Cast: Gael García Bernal, Vicky Krieps, Rufus Sewell, Ken Leung, Nikki Amuka-Bird, Abbey Lee, Aaron Pierre, Kathleen Chalfant, Alexa Swinton, Nolan River, Kylie Begley, Embeth Davidtz, Eliza Scanlen, Alex Wolff, Emun Elliott, Thomasin McKenzie

Director-screenwriter: M. Night Shyamalan

Gael García Bernal and Vicky Krieps play Guy and Prisca, parents who want to take their kids Trent and Maddox (Nolan River and Alexa Swinton) on a nice vacation before breaking the news that they’re going to separate. Their strife is no secret, though: Mom and Dad struggle to relax and enjoy a moment, even in a tropical paradise where cocktails are tailor-made to their tastes.

Seeming to intuit their needs, the resort manager quietly confides that he has an especially beautiful, secluded spot he only recommends to guests he really likes. So what if he also sends a few other guests to the same spot, and if the driver who takes them there (Shyamalan) can’t wait to get back in the van and hustle away from the site? Soon our heroes and a couple of other parties are settled in on a pristine stretch of sand with crashing surf at their feet and a vast wall of craggy rock rising up behind them. Then they find the corpse.

The dead woman was a friend of a famous rapper (Aaron Pierre) who was already on the beach when these guys arrived. A doctor ( Rufus Sewell ) is pretty quick to accuse the Black man of foul play, and Guy (along with a level-headed nurse played by Ken Leung) has trouble keeping their confrontation from getting out of hand. By the time things are nearly calm, the kids are five years older. And whenever someone tries to run back to the road to get help, he becomes disoriented in the passageway through the rock and winds up passed out, back on the beach.

In the kind of scene familiar to viewers of genre pictures, Old desperately has one character guess what’s going on in the hopes the audience will buy it and play along: Surely, Leung’s nurse deduces, there’s some strange deposit of minerals in the massive rock wall that somehow affects the speed of cellular growth in our bodies. Based on how quickly the kids (and the doctor’s daughter) are developing, we appear to be aging two years for every hour we’re here. If we don’t get off this beach, most of us will die of old age by tomorrow morning!

Or sooner. Several vacationers have conditions that, once sped up, present sometimes-disturbing threats to themselves or others. Anxieties are predictably high, and a capable cast handles the scenario’s weirdness as well as they can. Special credit goes to Alex Wolff and Thomasin McKenzie, who step in to play Trent and Maddox as teens and therefore have the additional burden of imagining what it’s like to leap from prepubescence to young adulthood in a matter of minutes.

Long before he gets to his trademark twisty ending (not a bad one, this time), Shyamalan uses his sci-fi premise to deliver some predictable ironies. Any viewer will guess how rapid aging will treat the doctor’s stick-thin trophy wife (Abbey Lee). But those familiar with the director’s beloved Philadelphia and its engrossing Mütter Museum of medical oddities may resent a plot point that museum surely inspired: Without giving anything away, a heartbreaking exhibit there tells a true story of deformity that is transformed into a grotesque cartoon here — a sight gag that may be the last straw for viewers struggling to take the sometimes clunky screenplay seriously.

Rod Serling-like ironies aside, the movie does finally deliver satisfying answers to a question or two we’d given up hope of answering. But doing so requires a return to a familiar genre mode after a tranquil sequence where things might’ve ended, almost happily, in a very different mood. We’re all stuck together on a rock, aging too quickly, coping with irrational neighbors. Maybe we should just watch the waves and enjoy the company of loved ones for as long as we have left?

Full credits

Production company: Blinding Edge Pictures Distributor: Universal Pictures Cast: Gael García Bernal, Vicky Krieps, Rufus Sewell, Ken Leung, Nikki Amuka-Bird, Abbey Lee, Aaron Pierre, Kathleen Chalfant, Alexa Swinton, Nolan River, Kylie Begley, Embeth Davidtz, Eliza Scanlen, Alex Wolff, Emun Elliott, Thomasin McKenzie Director-Screenwriter: M. Night Shyamalan Producers: M. Night Shyamalan, Ashwin Rajan, Marc Bienstock Executive Producer: Steven Schneider Director of photography: Mike Gioulakis Production designer: Naaman Marshall Costume designer: Caroline Duncan Editor: Brett M. Reed Composer: Trevor Gureckis Casting director: Douglas Aibel

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‘Old’: A beach speeds up aging in M. Night Shyamalan’s latest letdown

There are too many flat performances, awful lines and moments bordering on tastelessness..


When Guy (Gael García Bernal, left) arrived at a secret beach, his son Trent was 6, but he becomes a teenager (Alex Wolff) minutes later in “Old.”

Universal Pictures

“You have such a beautiful voice. I can’t wait to hear it when you’re older.” —Vicky Krieps’ Prisca to her young daughter Maddox at the beginning of “Old.”

Be careful what you wish for, mom.

Ever since writer-director M. Night Shyamalan made a sensational major feature film debut with “The Sixth Sense” in 1999, his career has ridden wild swings of the pendulum, ranging from the brilliant and enduring — e.g., “Unbreakable” and “Signs” and “Split” — to the unspeakably awful, including “The Happening” and “The Last Airbender” and “After Earth.”

We hold our breath each time Shyamalan releases a new film, hoping the setup will be tantalizing and the slow build will be filled with tension and the inevitable big reveal at the end will leave us exhilarated. Maybe he’ll reach the heights again, we think.

Not this time.

Shyamalan takes a big gutsy dive off a deep dramatic cliff in “Old,” which is based on the graphic novel “Sandcastle” by Pierre Oscar Lévy and Frederik Peeters — but despite an intriguing premise, some Hitchcockian camerawork and a few effective shock scares, this is a thudding disappointment with surprisingly wooden performances from fine actors, and some of the most excruciatingly awful dialogue in any movie this year, as when a 6-year-old kid says to a newfound friend, “We can go to the same colleges together and become neighbors with mortgages.” Wait, what now?

“Old” kicks off with Guy (Gael Garcia Bernal), his wife Prisca (Vicky Krieps), their 11-year-old daughter Maddox (Alexa Swinton) and their 6-year-old son Trent (Nolan River) arriving on a tropical resort for one last vacation. Unbeknownst to the kids, Guy and Prisca are about to split, but they’ve agreed to withhold this information from the children until after the trip. Not long after the family has settled in, the resort manager (Gustaf Hammarsten) tells them of an amazing private beach on the other side of the island that most other guests don’t even know exists — but he likes them so he’s letting them in on the secret.

Two other families come along on the trip. There’s a renowned doctor named Charles (Rufus Sewell), his much younger, selfie-obsessed wife Chrystal (Abby Lee), their 6-year-old daughter Kara (Kyle Bailey), Charles’ aged mother Agnes (Kathleen Chalfant) and Agnes’ dog, and really M. Night, you’re going to bring a dog into this impending nightmare? And we have Patricia (Nikki Amuka-Bird), who is a psychologist, and her husband Jarin (Ken Leung), a nurse.

The island is absolutely breathtaking, with lush green foliage on one side of the crystal-clear waters and jagged red rocks on the other side. But soon after the group arrives, stuff starts happening.

A lot of stuff.

A naked and quite dead blonde floats right into young Trent, and that brings about the appearance of Aaron Pierre as a rapper with the stage name of Mid-Sized Sedan, I kid you not. Mid-Sized Sedan parks himself (sorry) with the group, who can’t help but notice he keeps bleeding from the nose even as he maintains he just met the dead woman last night before she was dead and he saw her swimming “like Michael Phelps,” but he’s not sure what stroke she was doing because “I don’t watch the Summer Olympics.” OK.

This is when the weirdness really kicks in. All three kids suddenly age into adolescents and then teenagers, with Alex Wolff now playing Trent, Thomasin McKenzie as Maddox and Eliza Scanlen as Kara. “Something is going on with time on this beach,” says Jarin. No s----, Jarin. In another howler of a line, Prisca says to her daughter, “I don’t know what’s happening … sweetheart, but for now I have another swimsuit in my bag and maybe you should change into that.”

“Old” devolves into scenes of grotesquery and questionable taste, as when Trent and Kara, who still have the emotional intelligence of children, sleep together and Kara gets pregnant, and when another character’s bones keep cracking but heal before they’re reset. Other developments are just plain odd, as when Charles blurts out lines such as, “Do you know Jack Nicholson did a film with Marlon Brando?” (Yes, it was called “The Missouri Breaks,” and while it was something of a mess, it’s clearly superior to this near disaster.)

At times “Old” plays like an overlong episode of “The Twilight Zone,” only with a much bigger budget and location shooting. (Perhaps it might have worked better as an intimate, psychological set piece.) Shyamalan uncharacteristically has a couple of characters pretty much figuring out what’s going on well before we get the Big Reveal, which is admittedly compelling and weirdly enough makes for a better conclusion than the setup. (It’s usually the other way around in these tricky types of thrillers.) By then, though, it’s too late. The film has sunk under the weight of the flat performances, the stilted dialogue and the arbitrary “rules” of the island. Not even Mid-Sized Sedan could turn this gibberish into a cohesive hit.

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  • User Reviews
  • The premise feels very familiar (desert island beach; time slips; weird things happening.... "Lost" anyone?). But as a shell for a big-screen adventure it kept me well-engaged.
  • Shyamalan and his "Glass" cinematographer Mike Gioulakis use some novel techniques to portray the ageing effects. The angles used feel quite Hitchcockian at times. Shyamalan supports this with the sound design, which makes this a REALLY good movie to watch in a cinema with good surround sound. Often the camera will be spinning showing nothing but ocean or rocks, with the character's conversation rotating behind you in the cinema. It's really quite effective.
  • Shyamalan knows that no visual effects can improve on the horrors your mind can come up with. Although a '15' certificate, the "sustained threat, strong violence and injury detail" referenced by the BBFC pales into insignificance (in terms of what you actually see) compared to the equally rated "Freaky".
  • I've seen other reviews comment that the "twist" (no spoilers here) was obvious. But, although not a ground-breaking idea, I was sufficiently satisfied with the denouement. It made sense, albeit twisted sense.
  • I enjoyed the movie's leisurely set-up, introducing the characters and the movie's concept. (In many ways, it felt like the start of one of Irwin Allen's disaster movies of the 70's and 80's). But then Shyamalan turns the dial up to 11 and the action becomes increasingly farcical. Add into that the fact that you can see some of the 'jolts' coming a mile off, and the movie becomes progressively more disappointing, with a high ERQ (eye-rolling quotient) by the end.
  • In particular, there are inconsistencies to the story that get you asking uncomfortable questions. For example, wounds can heal in the blink of an eye.... but not stab wounds apparently.
  • The cast is truly global in nature: Vicky ("Phantom Thread") Krieps hails from Luxembourg; Bernal is Mexican; Sewell is a Brit; Amuka-Bird ("David Copperfield") is Nigerian; Leung is American; Eliza Scanlan is an Aussie; and Thomasin McKenzie (so good in "Jojo Rabbit", and good here too) is a Kiwi. But although it's clearly quite natural that an exotic beach resort would attract guests from all over the world, the combination of accents here makes the whole thing unfortunately sound like a dodgy spaghetti western!

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M. Night Shyamalan Still Knows What You’re Thinking — And ‘Old’ Leans Into Its Twists

By K. Austin Collins

K. Austin Collins

M. Night Shyamalan knows you’re thinking: Wait for it . And, Everything is a clue . He knows that, ever since The Sixth Sense , with its late-stage, near-spontaneous clicking into place of suggestions and hints many viewers didn’t even know they were meant to be looking out for, audiences have watched his work with an eye verging on suspicion. And we’re all so busy looking for the catch that we sometimes overlook the more enduring, sometimes beautiful, often silly, not-infrequently satisfying pleasures he brandishes right in front of our faces — pleasures that include his continually impressive hand, alongside his estimable collaborators, as a stylist and technician. He knows that he’s contemporary American movie-going’s answer to O. Henry, a name synonymous with “twist,” if only because of our own, enduring expectations.

The Fall and Rise of M. Night Shyamalan

Granted, Shyamalan has also persisted in leaning into the idea. Surely he knows that this has set up some of his work to fail among a clue-hungry audience, making us look for twists and last-minute dashes of clarity where what his work means to offer is something more metaphysical, as in Signs , or where the endgame can’t quite withstand the pressure of having to cleverly sweep the rug from beneath our feet, as in The Happening or The Village — two maligned movies which, whatever their faults, are parables hiding in plain sight, more notable for what they’re trying to say than for what they mean to withhold, even as in classic Shyamalan style, plenty gets withheld until the last minute. 

On the surface, it’s a little reminiscent of the problem that Hitchcock’s Psycho still faces , with its long-beleaguered ending — its late drift into explanatory psychobabble feeling incommensurate, for some, with everything that came before. You simply cannot explain away the inexplicable, the horrific, the outright weird. The difference is that Psycho ’s power is in exactly its willingness to illustrate that gap by risking our dissatisfaction: The ending doesn’t really match up with the sublime avenues of horror leading up to it, which ultimately becomes a failure, not of the movie, but of the people within it, trying to make sense of nonsense in ways that feel unasked-for, almost intrusive.

Shyamalan’s films have a related but different problem: Everything leading up to their endings seems predicated on the promise of explanation. Sit around, wait awhile; it’ll all make sense-ish eventually. Or, if you choose, watch with magnifying glass in hand, trying to get a step ahead of the movie, as Sherlock might.

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One of the funny things about Old, Shyamalan’s new movie, is that, for all its mysteries and their conclusory (and not very satisfying) explanations, the real meat of the endeavor is devoted to the fairly obvious. A Thing is happening; watching people deal with that Thing is, more-so than any explanation for why it’s happening, what the movie is about. The eventual explanations are extraordinarily secondary; you could lop them off of the movie and arrive at a project whose prevailing “message” is perhaps muddled, but whose effects and main ideas aren’t, or at least, not really. In the first place, what the movie is about largely traffics in the obvious — starting with the tone set by its title, Old , and the poster, in which that word lingers menacingly over a woman’s foot that’s being rendered skeletal before our eyes, as if the beachy shores on which the woman appears were some sort of death-ray vision. 

Maybe they are! That would be pretty corny. But corniness is next to godliness in the world of Shyamalan, and Old — with its overt dialogue, its obviousness at every turn, its overly-neat echoing in characters’ backstories and occupations — is better, not worse, for laying almost all of its cards on the table, practically in full view from the start. The movie stars Phantom Thread ’ s Vicky Krieps, as Prisca, a museum curator, and her husband, Guy, an actuary for an insurance company, is played by Gael García Bernal . A married couple that seem to be on the outs (or at least on the verge), they decide to take the kids on an exotic weekend getaway. Fast-forward — past the hushed arguments between Prisca and Guy; past the random oddities and light catastrophes happening at the resort; all the tidbits of maybe-relevant, maybe-not information that leak out with perverse frequency — to the hotel manager offering them a sweet deal: Access to a secret beach on a nature preserve, only a short ride away — an offer extended to only his favorite guests, of course.

So it begins. For this to be the only family given such an offer would be too good to be true; other families have also, apparently, been invited. A doctor ( Rufus Sewell ) and his modelesque younger wife (Abbey Lee), both of them vain, though in distinct ways, plus his mother and their daughter; a psychiatrist named Patricia (Nikki Amuka-Bird) and her husband, Jarin (Ken Leung), who’s a nurse. Them, plus a beach straggler that they all only notice after the fact. Make that two stragglers. One, we learn, is a dead body.

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Old may be an adaptation of the graphic novel Sandcastle, by Pierre Oscar Levy and Frederik Peeters, but, top to bottom, it has the look and feel and interests of a Shyamalan affair. It is equal parts childlike and mature, swaggering in the sweep in and movement of its spanning, panning, pivoting camera, accomplished in the way it weaves these peoples’ lives together into one gnarled and despairing fabric — deeply silly, yet, as it wears on, increasingly thoughtful, occasionally even dark for its willingness to be funny. There’s really little one can say about the majority of the plot that can’t be summed up in the title. What’s luminous and effective are the psychological demands that arise in the process. This is what’s useful about the obviousness. Shyamalan’s willingness to let the audience be a bit ahead of his characters plants questions in our minds that the characters don’t yet realize are imminent. The brittle and overstated attention to everyone’s occupations feels like the setup for an overly dense and unfunny joke, at worst, and a useful parable at best. 

Old doesn’t sink to the lows of the former; if it doesn’t reach the highs of the latter, that may be because Shyamalan’s got other things on his mind — things neatly summed up in a late shot, in the movie, of Shyamalan looking down on the beach through a directorly scope, watching all the little ant-people down there making a mess of themselves, trying to survive. Old isn’t trying to be fashionable, low-fi, artisanal horror of the kind that seems to be setting the tone for the genre in the indie world. This is, instead, a credibly old-fashioned movie in some ways, a creature feature with something more diffuse than a “creature,” per se, a monster movie in which the monster is an unlucky pairing of longitude and latitude. 

That is: until the grimness really gets going, and the body count rises, and we get neat kills (I’m thinking, in particular, of a brutish, almost unfair scene in a cave) and sweet bits of body horror. What body horror means, for a movie like this, is best left to the viewer to see for themselves. I think it’s ultimately worth it. Old is goofy in all the right places (such as a cut to a couple — in particular to a view of someone’s belly — that made me laugh out loud) — and, yes, goofy in some of the wrong ways, too. The ending: It’s satisfying, but it satisfies the wrong things. It’s the feelings Shyamalan has mined, all along, that make the movie worth seeing. The conclusory info dump is, by comparison, just a bullet point. 

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M. Night Shyamalan’s Old Is Beautifully Made and Terribly Written

Portrait of Alison Willmore

M. Night Shyamalan can make a shot of palm trees sinister, just by the way he moves a camera. Old opens with fronds dancing in front of a bright sky, and then transitions to the vacationing family on the road below, as though the humans are already an afterthought, fodder for the high concept horror awaiting them. Shyamalan’s always been great on a granular level, crafting shots that place you in the mindset of the characters, or, in the case of this new film, decidedly outside of it. The Sixth Sense goes careening in sympathetic terror down the hallway after a retreating Haley Joel Osment, only to reverse and show us what he sees — the bathrobed ghost starting after him — before closing up his blanket fort. Signs holds on Joaquin Phoenix’s face, shifting with him as he tries to get a better look at what he doesn’t yet know is an alien on the roof, only for the creature to jump down off-screen, out of sight of the characters as well as that subjective lens, leaving rustling corn and a creaking swing in its wake.

In contrast, Old makes a repeating motif of the camera panning horizontally across the beach on which the characters are stuck, and treating their faces with the same indifference as the landscape. It’s so nicely done that it takes a while to admit to what a bummer the movie is, caught between brutal exercise and metaphor for the fleeting nature of time. It doesn’t care about its characters, but tries to pretend it does in the end, in what feels like a blatant failure of nerve. They’re barely characters, is the thing — more of a collection of professional titles, with Trent (Nolan River), the 6-year-old baby of the family, having a conveniently precocious habit of asking everyone he meets what their name and occupation are. Patricia (Nikki Amuka-Bird) is a psychologist, while her husband, Jarin (Ken Leung), is a nurse. Aaron Pierre plays a rapper whose name is, spectacularly, Mid-Sized Sedan, and Rufus Sewell is Charles, a doctor. Charles’s spouse, Chrystal (Abbey Lee), isn’t given a chance to describe her career, though an accurate description would be something like “trophy wife.” Their daughter, Kara (Kyle Bailey), is with them, as is Charles’s mother, Agnes (Kathleen Chalfant).

Trent’s older sister, Maddow (Alexa Swinton), is 11 and not yet working age (the children are played by additional actors as they get older), but their parents, Guy (Gael García Bernal) and Prisca (Vicky Krieps), talk about their jobs the way some people talk about their astrological signs. “​​You’re always thinking about the past! You work in a goddamn museum! ” Guy yells at Prisca early on, and later explains his perspective on the world to another character by noting that, as an actuary, he calculates risk. This picture-book-simple shorthand to introducing an ensemble would feel less clumsy if the intent were only to kill off the characters one by one, but Old is intent on trying to make its audience care about its primary foursome, and the way that Guy and Prisca have been teetering on the precipice of divorce. The beach vacation is meant to be a three-day reprieve, a way of avoiding thinking about the couple’s impending separation, and also the supposedly benign abdominal tumor Prisca recently discovered.

A day after arriving at the island resort (“Can you believe I found this online ?” Prisca gloats ominously), the manager (Gustaf Hammarsten) offers the family a chance to visit a secluded beach on the neighboring nature preserve, an opportunity he claims to only give to guests he likes. It should be clear that something’s awry from the moment the impossible-to-like Charles and his family enter the van, but the group proceeds to the beach under the guidance of their driver, played by Shyamalan himself. As the man responsible for ushering the victims onto the deadly beach, and later observing them from afar, the character is clearly a kind of directorial stand-in. But despite the self-acknowledged sadism of the set-up, in which the beach’s inhabitants slowly realize they are aging about two years an hour, there’s a timidity to the film that makes it exasperating. Old is adapted from Sandcastle , a graphic novel by Pierre Oscar Levy and Frederik Peeters that has a more ambiguous tilt, and the movie never squares its desire for body horror with its late impulse to have its characters try to reconcile their differences and reflect on what’s actually important.

There’s a death of imaginative gruesomeness, an instance of emergency surgery, and a disturbingly accelerated pregnancy, but there are also long, tedious freak-outs from characters lacking the dimension to merit them. Shyamalan, who’s been working his way back toward bigger budget productions ever since breaking himself out of movie jail with 2015’s The Visit , feels caught between the more emotionally considered movies he used to make, and the leaner, meaner ones he’s done more recently. His filmmaking can’t make up for the fact that Old is hovering indecisively between the two halves of his career, unable to commit to either direction.

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Old, review: A provocative horror that brings out the best and worst in M Night Shyamalan

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Dir: M Night Shyamalan. Starring: Gael García Bernal, Vicky Krieps, Rufus Sewell, Ken Leung, Nikki Amuka-Bird, Abbey Lee. 15, 108 mins.

M Night Shyamalan still can’t quite shake his reputation as the king of plot twists. It doesn’t matter what he’s done in the decades since Haley Joel Osment saw dead people. The label has stuck. And it’s not quite a fair one. Shyamalan shouldn’t be defined by his twists, but by his constant unpredictability. It’s a subtle but important difference. What makes his horror films so effective – when they’re at their best, at least – is that he allows his stories to exist in a sense of perpetual tension. At any moment, the path might change. They could slip wildly into a different genre. New nightmares could emerge from any corner. What determines whether a Shyamalan film is good or bad is how he deals with that build-up of terror. Does he let it linger menacingly in the air? Or try to soothe it out of his audience’s minds with a tidy ending? Old , in that sense, brings out both the best and worst in him.

In its opening scene, we’re introduced to what should be a blissful scenario: a wealthy, nuclear family on a tropical vacation. The parents, Guy (Gael García Bernal) and Prisca (Vicky Krieps), gaze adoringly as their young children zoom around their hotel room. But the camera sits waiting on the outside, watching them through the windows, pacing up and down like a jaguar readying for the kill. What hidden torment will soon be revealed to us? Old feels like a repeat of Shyamalan’s 2004 film The Village – it’s provocative and inventive right until the point the director retreats into narrative neatness and conventional emotions.

A manager suggests the family spend the day at a private beach – one of those little-known hotspots that all holidaymakers crave. They’re soon joined by a second family – a doctor ( Rufus Sewell ), his mother (Kathleen Chalfant) and his modelesque wife (Abbey Lee), plus his young child. A little later, another couple, played by Ken Leung and Nikki Amuka-Bird, arrive. A dead body, floating facedown in the water, is the real starting point for Old ’s reign of terror. There’s a man, too, crouched in the shadows, who nervously reveals himself to be a popular rapper called Mid-Sized Sedan (Aaron Pierre) – it’s unclear whether the name is intended as a joke or just a sign of cultural disconnect.

But there’s a strangeness that starts to consume these people the very second they step foot on the beach. They can’t quite put their finger on it. But their bodies simply don’t quite feel like their bodies any more. The truth is that their cells have started to age rapidly – the reason why is part of the great mystery Shyamalan knows his audience will be eager to solve. Although the film is actually an adaptation of the Swiss graphic novel Sandcastle , by Pierre Oscar Levy and Frederik Peeters, the director has provided his own resolution to the story.

Gael Garcia Bernal: ‘I dare Alejandro Gonzalez Inarritu to work with me again’

All the implicit themes at play here – not only of our general fears of ageing, but of the doomed inevitability that our medical histories create – run strongly throughout Old . There’s a primal potency to them. But the film, just like The Village , suffers from Shyamalan’s desire to forever chase a sense of order within the universe. Sometimes this can actually be quite refreshing – Old is the rare horror where the characters are all hypercompetent – but Shyamalan’s persistent refusal to leave behind any wonder, or instability, ultimately strips Old of its staying power. He seems more concerned with avoiding any potential plot hole that might send Reddit users into a rage than he does in creating something emotionally satisfying. It’s hard to talk about his films as something more than their endings when it’s the endings that always seem to decide their fate.

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M. Night Shyamalan's new horror movie Old is dividing critics. Some reviewers have praised its off-the-wall weirdness and intriguing story premise, while others were put off by the odd dialogue and struggled to get invested in the characters.

After the breakout success of his third feature film, The Sixth Sense , Shyamalan's career as a filmmaker has been full of highs, lows, twists and turns. Following a string of critical and box office flops that included The Last Airbender and After Earth , Shyamalan began self-financing his movies and made a comeback with found footage thriller The Visit . He scored another win with the horror movie Split, which was widely well-reviewed grossed $278 million worldwide, far outstripping its $9 million production budget.

Related:  Old Shows Why M. Night Shyamalan Movies Are Important (Even If They're Bad)

Old has a strong story hook: a family staying at a luxuy resort take a day trip to a hidden beach on the other side of the island, along with a group of other guests. After finding a dead body in the water, they realize that something on the beach is causing extremely accelerated ageing. With seemingly no way off the beach and a rapidly ticking clock on their remaining lifespans, the family must find a way to escape before they die of old age. Old has been compared both favorably and unfavorably to the strangeness and goofiness of Shyamalan's 2008 movie The Happening , and has received both rave reviews and one-star tear-downs. As of the time of writing, it holds an almost perfectly even score of 52% on Rotten Tomatoes . Here's what some of the negative reviews of Old said about the movie.

"What shocked me is how thinly Shyamalan develops characters and how clumsily he handles potent themes about sudden death and the collapse of time that should resonate powerfully in the COVID-19 era. Even his argument for family values in the face of global youth worship feels rote."

Wall Street Journal :

"For many reasons, none of them good, Old is in a class by itself. M. Night Shyamalan’s thriller-slasher-sci-fi-creep-out is peerlessly clumsy, silly and alarmed. It’s also alarming for its ineptitude... [The cast] would be a significant draw in other circumstances, but the beach's malign power extends to turning excellent actors into wooden performers."

Evening Standard :

"What’s extraordinary is how the daft dialogue infects the talented cast. [Gael García] Bernal, [Vicky] Krieps, [Rufus] Sewell; we know these people can act. But, for whole chunks of the movie, they frown and wave their arms around like am-dram rubes... Shyamalan’s film wants us to live in the moment. Too many of the moments in this movie are moronic."

ReelViews :

"The editing is uneven, making one wonder whether there was originally a much longer cut that got trimmed down during post-production. Character development is largely ineffective with most of the people acting in odd, irrational ways to satisfy plot needs... Plot holes abound, many of which don’t require post-screening reflection to identify. The movie doesn’t make a lot of sense and it doesn’t help that the dialogue is poorly written and clumsily delivered."

Even some the positive reviews of Old largely agree with the point that the dialogue is strange and awkward, which in turn hampers some of  the actors' performances . (though Alex Wolff's portrayal of a six year-old boy in the body of an adult has been praised as a highlight). Unlike the source material that the movie is based on, a graphic novel called Sandcastle , Old comes up with an explanation for why the beach ages people and arguably falls into the trap of over-explaining the time mechanics at work. Nonetheless, many reviewers were charmed by Old 's chaotic weirdness and felt that on balance its positives outweighed the negatives. Here's a selection of quotes from Old 's more favorable reviews .

Vanity Fair :

"Old is good. It’s very good... Shyamalan teases out new information in just the right doses, remembering all the while that this is, at its core, a B-picture. It isn’t gory, but it’s gross, and the camera knows just how much to show to keep us dialed in."
M. Night Shyamalan's Old, which tackles the distinct horrors of aging, ends up being a fascinating entry to the director's spotty career. It may not be his greatest work, but it is one that uses an intriguing premise to tackle profound ideas."

New Yorker :

"Shyamalan has created a splendid throwback of a science-fiction thriller that develops a simple idea with stark vigor and conveys the straight-faced glee of realizing the straightforward logic of its enticing absurdity."

The Atlantic :

"Yes, Old has plenty of the clunky dialogue that defines Shyamalan’s work... It probably runs 10 minutes too long, with an ending that works too hard to lay out the silly reasoning behind the beach’s supernatural properties. None of that matters. The central conceit of Old has so much juice, and Shyamalan gets to explore so many fun—if sadistic—avenues over the course of one very long day. It’s his most ambitious work in years, wrapped in the delightful, tawdry packaging of a pulpy thriller."

More:  Old Movie Ending & All Twists Explained

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Compelling concept, so-so execution; disturbing scenes.

Old Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

Not many overtly positive messages, but it does ex

Guy and Prisca try to protect their kids and calm

High body count: Characters succumb to everything

Brief shot of a woman's bare back and butt as she

Occasional "damn," "goddamn," and one use of "f--k

Adults get special cocktails when they arrive at t

Parents need to know that writer-director M. Night Shyamalan's Old is a thriller that explores what happens when vacationing strangers are stranded on a beautiful beach that ages them at a remarkable rate. Like all of Shyamalan's movies, there are plot twists and turns, as well as a sustained sense of peril…

Positive Messages

Not many overtly positive messages, but it does explore moral ambiguity of certain kinds of research, as well as importance of truth-telling within families and sticking together in difficult circumstances.

Positive Role Models

Guy and Prisca try to protect their kids and calm people when they can. Patricia and Jarin try to gather everyone, ask them to voice their feelings, work together. As a nurse, Jarin helps take care of everyone as they get sick and exhibit symptoms. Trent and Maddox are devoted siblings. Main cast is moderately racially/ethnically diverse, including an interracial couple (Black and Asian), a Black musician, two White families, a couple of BIPOC supporting characters. Everyone is heterosexual. Several characters have different chronic illnesses or invisible disabilities. A man seems to have early onset dementia but turns out to be schizophrenic and behaves in a way that's drawn from stereotypes about mental illness (he's homicidal).

Violence & Scariness

High body count: Characters succumb to everything from water (drowning) to one another (one person is stabbed to death, one is slashed but survives, another dies from blood poisoning). People have epileptic seizures, have emergency surgery, experience a host of other terrible things. Several dead bodies are shown; they decompose to bones and ash incredibly quickly.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Brief shot of a woman's bare back and butt as she undresses to swim in the nude. A woman flirts with a server. A married couple embraces and kisses. Teens hold each other; they have sex off camera and a teen girl gets pregnant.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Occasional "damn," "goddamn," and one use of "f--king."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adults get special cocktails when they arrive at the resort.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that writer-director M. Night Shyamalan 's Old is a thriller that explores what happens when vacationing strangers are stranded on a beautiful beach that ages them at a remarkable rate. Like all of Shyamalan's movies, there are plot twists and turns, as well as a sustained sense of peril throughout. There's a considerably high body count, with several disturbing scenes of dead bodies/characters getting sick, a surprise pregnancy and birth, emergency surgery, and the implications of children growing into young adults in a matter of hours. Various characters have chronic illnesses that manifest themselves in frightening ways. While the only sex in the movie takes place off camera, there's kissing and a scene of a woman stripping to swim in the nude (her bare back and butt are visible). Language is fairly tame except for a few uses of "damn," "goddamn," and one "f--king." Adults get special cocktails. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

  • Parents say (15)
  • Kids say (42)

Based on 15 parent reviews

Another great movie that makes us think from M. Knight Shyamalan

Good thriller but cringe, what's the story.

M. Night Shyamalan 's creepy mystery/thriller OLD, based on the graphic novel Sandcastle , follows four groups of vacationing strangers who are visiting their resort's special private beach together for the day when they realize that something is going irrevocably wrong. A family of four -- dad Guy ( Gael García Bernal ), mom Prisca (Vicky Krieps), 11-year-old Maddox (Alexa Swinton), and 6-year-old Trent (Nolan River) -- arrives at a tropical resort in an unspecified location. The manager recommends an exclusive excursion to a private nature preserve's nearby beach. They join a wealthy multigenerational family that includes an English chief of surgery ( Rufus Sewell ), his elderly mother (Kathleen Chalfant), trophy wife Chrystal (Abbey Lee), and their 5-year-old girl, Kara. They also realize that there's a single man there, whom tween Maddox identifies as rapper Mid-Sized Sedan ( Aaron Pierre ). Soon after, young Trent discovers a dead woman in the water: the fellow resort-goer who'd gone to the beach with Mid-Sized Sedan earlier in the day. A final married couple -- nurse Jarin ( Ken Leung ) and psychologist Patricia (Nikki Amuka-Bird) -- appear amid the chaos, and it's soon clear that the beach has unthinkable effects on everyone. They're all aging approximately two years per hour, leading the kids to quickly morph into teen versions of Maddox ( Thomasin McKenzie ), Trent ( Alex Wolff ), and Kara ( Eliza Scanlen ).

Is It Any Good?

Shyamalan's thriller has a strong cast and an initially riveting concept, but it's uneven, and most of the best parts are revealed in the trailer. The performances are serviceable -- particularly Wolff, who's become an expert at the emotional range necessary for creepy horror/psychological thrillers. McKenzie is also notably good at portraying someone who's aged too quickly and is having trouble processing all of her complicated feelings. The adults range in effectiveness, with the striking Pierre (who's excellent in The Underground Railroad ) having little to do as the confused and quiet rapper, Sewell chewing up the scenery as an arrogant surgeon, and Bernal and Krieps trying to telegraph how a marriage on the rocks would react when faced with an unthinkable crisis. Stand-outs include Leung and Amuka-Bird, who play the story's sole likable and stable couple.

As in all of his films, Shyamalan also cast himself in a notable, more-than-cameo role, and, while it was predictable, he should have given himself an even smaller part. The twists here, once the titular premise is revealed, are underwhelming (and one is as obvious as Chekhov's gun). There's no gasp-worthy Sixth Sense or The Others moment, which is fine, but the "aha!" doesn't even matter much, because audiences may no longer be invested in the outcome. The best, freakiest parts of the movie rely mostly on the kids' accelerated growth, along with the physiological abnormalities that different characters face while aging a lot in one day (not a spoiler; it's right there in the title). Old ranks somewhere in the bottom half of Shyamalan's filmography, but even so it's worth a look -- if only to see the kids fast-forward into teens.

Talk to Your Kids About ...

Families can talk about the violence in Old . How much takes place on screen vs. off? How does that affect the way you feel about it? What's the impact of media violence on kids?

How does Old compare to Shyamalan's other movies? What are some of his movies' signature elements?

In this story, how do the diverse characters work together toward a common goal? Do they succeed? What do you think about the outcome?

Who, if anyone, do you consider a role model in the movie? What character strengths are on display?

Movie Details

  • In theaters : July 23, 2021
  • On DVD or streaming : October 19, 2021
  • Cast : Gael Garcia Bernal , Vicky Krieps , Embeth Davidtz , Thomasin McKenzie , Alex Wolff
  • Director : M. Night Shyamalan
  • Inclusion Information : Latino actors, Female actors
  • Studio : Universal Pictures
  • Genre : Thriller
  • Topics : Brothers and Sisters
  • Run time : 108 minutes
  • MPAA rating : PG-13
  • MPAA explanation : strong violence, disturbing images, suggestive content, partial nudity and brief strong language
  • Last updated : December 27, 2023

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Tim Blake Nelson , whose performance in the title role of this second fiction feature by director Potsy Ponciroli is its most stellar attribute, has the most convincingly exhausted and forlorn hangdog expression in contemporary cinema. And he puts it to undeniably superb use in the early portions of this movie.

He’s heard before he is seen, telling the viewer of his origins: New York born, he spent time Kansas, Arizona and New Mexico; the movie’s setting, 1906, finds him in the territory of Oklahoma, farming. As he works the land, Henry’s son Wyatt, bored with his tasks, complains “I still don’t believe this is the life you wanted ... up at dawn, feeding the stock.” Henry insists to Wyatt (a very good Gavin Lewis ) that “there are worse arrangements.”

His prior narration had hinted that Henry has some familiarity with worse arrangements. Over a shot of the burial ground of his obviously beloved wife, he says of his various ventures over the years that “some were more marginal than others.”

Like William Munny in Clint Eastwood ’s classic “ Unforgiven ,” Henry hasn't outrun his past so much as sent it off stage. It’s not entirely departed from his life, but rather stands ready in the wings.

Soon Henry will have cause to let a man his son doesn’t know take center stage. We’ve seen, in the movie’s tight, menacing opening, Stephen Dorff as Ketchum, with a couple of equally ruthless companions, pump a hapless man of the grasslands for information, then strangle the life out of him. A little later, Henry, who’s got no neighbors except his stalwart, deep-voiced brother-in-law Al (country singer Trace Atkins, who’s terrific with the basso stoicism) comes upon an untended horse, blood on its saddle. A little farther off, there’s a man with a bullet in his shoulder, a revolver, and a bag of money. Henry will bring the man back to the house and look after him. As for the bag of money, he gazes at it for a while before saying “Nope.”

Then he changes his mind and scoops it up.

Well, you know where this might be going, and sure enough, it does. The shot man, Curry, has one story, and when Ketchum and his men show up, they have another. Additionally, Curry ( Scott Haze ), when he’s not passing out from loss of blood, has flashbacks to a time when he and Henry may have met.

Preparing to confront the men posing as law—who are in fact just rank killers—Henry frequently steps on Wyatt’s offers to help with the impending shootout. Wyatt’s pretty handy at target practice, but when it comes to killing a man, Henry tells him, that’s a different line to cross (and here we arrive at "Unforgiven" again). This works Wyatt’s nerves to the extent that he lashes out, calling Henry “a stupid worthless old man.”

This bruises Henry’s feelings. But in Nelson’s deep, still characterization, you see that the hurt means nothing next to his determination to protect his only son.

Eventually—about the time it demonstrates Henry’s expertise as a killer of men, in several well-done action mini-sequences—we learn the details of Henry’s past, and your overall enjoyment of the movie may hinge on whether or not you’re willing to, as they say, go with it. I did a slight eyeroll myself and then settled back into the substantial satisfactions offered by the movie’s climax. And continued my admiration of Nelson, who never puts a foot wrong, pulling off Henry’s transformation from hangdog to deadeye with palpable conviction and credibility.

Now playing in theaters.

Glenn Kenny

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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Film credits.

Old Henry movie poster

Old Henry (2021)

Tim Blake Nelson as Henry

Scott Haze as Curry

Gavin Lewis as Wyatt

Stephen Dorff as Ketchum

Trace Adkins as Al

Richard Speight, Jr. as Dugan

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The Acolyte First Reviews: A Familiar but New Vision of Star Wars , Packed with Stunning Action

Critics say the latest disney+ series delivers a refreshing new spin on tried and true star wars elements with solid performances and incredible fight scenes..

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TAGGED AS: Disney , Star Wars , streaming , TV

The latest Star Wars TV series released its first two episodes this week, and its first reviews continue the Fresh streak for the franchise on the small screen. Titled The Acolyte , this show is even more prequel than the prequels, as it is set around 100 years before the events of Star Wars: Episode 1 – The Phantom Menace , in the time of the High Republic era. Starring Amandla Stenberg in dual roles, the plot follows twin sisters representing both sides of the Force, allowing for a portrayal of dark and light that’s not exactly black and white. Most reviews point out how different the series is while still Star Wars enough for the fans, but it’s far from perfect.

Here’s what critics are saying about The Acolyte :

Does it take Star Wars in a new direction?

This is a newly marked territory… creating a new refreshing path and mythos for Star Wars . — Laura Sirikul, Nerds of Color
It has a willingness to put its own spin on hallowed lore. — Alison Herman, Variety
In its willingness to challenge our assumptions, The Acolyte finds its own place. — Angie Han, Hollywood Reporter
It’s a really well-wrought detective story that is unlike anything I’ve seen in Star Wars before. — Bryan Young, Slashfilm

Amandla Stenberg in The Acolyte (2024)

(Photo by ©Lucasfilm)

Is this a good thing?

It’s an exciting breath of fresh air I didn’t know I needed, and offers us something at once familiar but also genuinely unexpected. — Bryan Young, Slashfilm
You don’t need to recycle elements from the master narrative to make its offshoots compelling. In fact, the opposite approach is often more rewarding. — Alison Herman, Variety

Will fans still find enough familiar territory?

While the glossiness of this barely used universe (its aesthetic falling somewhere between the Original Trilogy’s grime and the Prequels’ pristine sheen) takes a little getting used to, the livery remains distinctly Star Wars . — James Dyer, Empire Magazine
The Acolyte does not throw out the Star Wars playbook entirely. It’s faithful to the charms that have carried this series for so many decades: strange planets, weird creatures, lightsaber battles with a fresh wuxia flair. — Angie Han, Hollywood Reporter
The Acolyte combines the classical elements that give Star Wars an evergreen appeal with new additions to the canon. — Alison Herman, Variety
Acolyte hits all the right Star Wars motifs, from hooded evil Jedis, twins broken apart (a la Luke and Leia), puppeteers in the shadows, and past crimes that continue to have ramifications in the future. While that’s great comfort food for any Star Wars fan, it’s also old hat. — Anthony D’Alessandro, Deadline Hollywood Daily

Will fans of the Star Wars prequels especially love it?

[Showrunner] Leslye Headland brought her love of the prequel trilogy to The Acolyte . It feels like it exists in that same universe and feels like the Jedi are finally on the edge of the precipice that will lead them to a path of destruction thanks to the Sith’s grand plan. — Bryan Young, Slashfilm
Headland has professed a love for the once-unfashionable Star Wars prequel trilogy released from 1999-2005, and her show often plays specifically like a remix of The Phantom Menace . — Jesse Hassenger, The Wrap
You’d think the whole show was set months before Phantom Menace . — Anthony D’Alessandro, Deadline Hollywood Daily

Master Sol (Lee Jung-jae) in Lucasfilm's The Acolyte (2024)

Is this one of the best Star Wars shows?

The Acolyte is the best Star Wars streaming television event since The Mandalorian . — M.N. Miller, FandomWire
[Here] Star Wars feels a bit more vibrant than it typically has on television. In place of the quasi-western spareness of The Mandalorian or the seemingly stretched-thin budget of Obi-Wan Kenobi is a colorful sort-of mystery series that takes off like a rocket. — Jesse Hassenger, The Wrap
It’s practically the inverse of [ Andor ]; where [that show] eschews the supernatural in favor of foot soldiers, The Acolyte goes all-in on the Jedi order and its Force-wielding space wizards. — Alison Herman, Variety
The Acolyte can’t help but feel slight and unambitious by comparison [to Andor ]. — James Dyer, Empire Magazine

Does it overcome prequelitis?

I wanted to learn what happened next, even if we already know where the Republic is heading. — Alison Herman, Variety
Returns and callbacks can be plenty of fun for the initiated; it’s even more exciting, though, not having much of an idea as to where The Acolyte is headed. — Jesse Hassenger, The Wrap

Mae (Amandla Stenberg) in Lucasfilm's The Acolyte (2024)

Are there any standout performances?

The performance of Amandla Stenberg playing a dual role of both Osha and Mae respectively is flawless. — Jamie Broadnax, Black Girl Nerds
Lee Jung-jae also contributes by bringing a raw vulnerability that balances the series. — M.N. Miller, FandomWire

How is the action?

The fight scenes are just unbelievable. — Danielle Solzman, Solzy at the Movies
It has the flavor of Hong Kong action cinema but with a distinctly Star Wars twist — punches and parries augmented with Jedi abilities that block and throw with unseen power. — James Dyer, Empire Magazine
The fight sequences look like they could fit right at home in Ang Lee’s Crouching Tiger, Hidden Dragon or Zhang Yimou’s Hero . — Bryan Young, Slashfilm
The Acolyte is propelled by plentiful action… but the action itself is rooted in conflict with stakes both large and small for characters we quickly come to care about. — Alison Herman, Variety
It’s a refreshing departure from the typical lasers and lightsaber battles. — Laura Sirikul, Nerds of Color
Older and more jaded fans will probably still grumble that the fights aren’t intense or violent enough. — Jesse Hassenger, The Wrap

Carrie-Anne Moss in The Acolyte (2024)

Does it have any glaring issues?

The Acolyte suffers from a near absence of compelling characters and some dramatic lapses of subtlety. — Keith Phipps, TV Guide
The series doesn’t quite seem to know what to do with more marginal members of its ensemble. — Angie Han, Hollywood Reporter
The characters here are thinly drawn, often weighed down by overly functional dialogue. — James Dyer, Empire Magazine

Could this be a positive sign of the future of Star Wars ?

The Acolyte in many ways will be one of the few series that will lay the groundwork for storytelling and from graphic novel to TV adaptation under the Star Wars umbrella and I’m here for it. — Jamie Broadnax, Black Girl Nerds

Thumbnail image by ©Lucasfilm On an Apple device? Follow Rotten Tomatoes on Apple News .

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Bad Boys 4 Reviews & Rotten Tomatoes Score Promise One of the Best Movies in the Action Franchise

  • Critics praise Bad Boys: Ride or Die as one of the best in the franchise, with a Rotten Tomatoes score of 68%.
  • Will Smith and Martin Lawrence shine in the movie, keeping their chemistry sharp and entertaining.
  • While some faults were found, the movie delivers on over-the-top action and genuine wit, showing the Bad Boys can still deliver.

The reviews for Bad Boys: Ride or Die are now in, as the Rotten Tomatoes score, with the action sequel standing as one of the best installments in the franchise . The fourth latest Bad Boys outing now stands at 68% on the review aggregator site , making it the second highest in the series, just behind Bad Boys for Life’s 76% rating. “Will Smith and Martin Lawrence remain good company even when Bad Boys strains to up the ante, proving there's still life left in this high-octane franchise,” the ‘Critics Consensus’ reads. So, what do critics make of the latest adventure of wisecracking Miami cops Mike Lowrey and Marcus Burnett.

Staring with MovieWeb’s own Julian Roman , there is a lot to enjoy in Bad Boys: Ride or Die , with Julian praising the return of Will Smith and Martin Lawrence.

Will Smith and Martin Lawrence continue to reign as kings of the buddy cop genre in another action-packed, laugh-out-loud installment of the Bad Boys franchise. Their fourth film together feels like seeing cherished friends who haven't lost a step after nearly three decades. Bad Boys: Ride or Die slickly incorporates old and new characters into a reversal of fortune for our badass heroes.

Bad Boys: Ride or Dies Will Smith Says 'It's Nothing But Love' from Fans

Smith is grateful to the supportive fans who showed up at the Bad Boys: Ride or Die premiere, despite the 2022 Oscars' slap snafu.

There is further praise for the main duo courtesy of Screen Rant’s Mae Abdulbaki , who says their captivating chemistry is the best thing in the movie.

Will Smith and Martin Lawrence are just as sharp as ever in Bad Boys: Ride or Die, and their onscreen chemistry continues to hold the film together.

While Collider’s Matt Donato found a few faults with Bad Boys: Ride or Die , he did conclude that, when the movie works, it really works, and reminds us why we love going to the cinema .

What works reminds us why we love going to the movies, and what doesnt shuffles out of frame before too much damage is done.

Bad Boys: Ride or Die Lands in Theaters on Friday

Bad boys: ride or die.

Bad Boys: Ride or Die is the fourth installment in the action-comedy film series starring Will Smith and Martin Lawrence. The series centers on hard-boiled Miami detectives Mike Lowery and Marcus Burnett, who take on dangerous drug kingpins and thwart dangerous schemes as they attempt to stop the circulation of illicit drugs in their city. This time, Miami's finest are the ones on the run.

Release Date June 7, 2024

Director Bilall Fallah, Adil El Arbi

Cast Paola Nez, Vanessa Hudgens, Eric Dane, Will Smith, Tasha Smith, Martin Lawrence, Ioan Gruffudd, Alexander Ludwig

Main Genre Action

Genres Comedy, Action, Adventure

Writers Chris Bremner

Studio(s) Jerry Bruckheimer Films, Westbrook Studios, Don Simpson Films, 2.0 Entertainment, Columbia Pictures

Distributor(s) Sony Pictures Releasing

prequel(s) Bad Boys 2, Bad Boys for Life, Bad Boys (1995)

Franchise(s) Bad Boys

Variety’s Owen Gleiberman , meanwhile, calls the Bad Boys effort “movie junk food” and loved the comforting nature of the action movie .

We like our movie junk food amped and familiar. In that light, what could be more comforting than watching the two stars of Ride or Die trash-talk each other with the kind of deep-dish disgruntled conviction it takes 29 years to build up?

Similarly, IGN’s Eric Goldman reveled in the over-the-top action , heaping praise on the “panache” shown by directing duo Adil & Bilall.

Yes, its as over the top and silly as ever, but its done with more panache and genuine wit than before, proving these Bad Boys, even at their older age, can still deliver.

Directed by Adil & Bilall and written by Chris Bremner, Bad Boys: Ride or Die sees Will Smith return as Detective Lieutenant Michael Eugene "Mike" Lowrey alongside Martin Lawrence as Detective Lieutenant Marcus Miles Burnett. The rest of the cast includes Vanessa Hudgens, Alexander Ludwig, Paola Núñez, Tasha Smith, John Salley, Eric Dane, DJ Khaled, Ioan Gruffudd, with Jacob Scipio as Armando Aretas, Mike and Isabel's son, and Joe Pantoliano as Captain Conrad Howard.

You can check out the official synopsis and the trailer for Bad Boys: Ride or Die below.

This Summer, the world's favorite Bad Boys are back with their iconic mix of edge-of-your seat action and outrageous comedy but this time with a twist: Miami's finest are now on the run.

Bad Boys: Ride or Die is scheduled to hit theaters in the United States on June 7, 2024.

Bad Boys 4 Reviews & Rotten Tomatoes Score Promise One of the Best Movies in the Action Franchise

More From Forbes

The 10 worst-reviewed movies new on netflix in june 2024.

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UNIVERSAL CITY, CA - MAY 1: Actor Will Ferrell arrives at the premiere of "Kicking and Screaming" ... [+] at Universal City Walk on May 1, 2005 in Universal City, California. (Photo by Frazer Harrison/Getty Images)

Not every movie new on Netflix in June 2024 was embraced by critics, especially those starring Will Farrell or Shailene Woodley.

Of course, just because a movie doesn’t resonate with critics the way others do doesn’t mean that it won’t find an audience on Netflix.

The venerable streaming service has given new life to many movies over the years that didn’t get some love from critics and audiences, yet have managed to make it onto the streaming channel’s weekly Top 10 Movies chart either globally or in the U.S., if not both.

One recent example of a film defying critics is Matt Damon’s 2016 monster movie The Great Wall , which was splattered with negative reviews on Rotten Tomatoes with a 35% “rotten” rating, based on 238 reviews.

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Despite the negative critical reception of the film, The Great Wall managed to scale upward to make both the Global and U.S. Top 10 Movies charts on Netflix.

More recently, Rotten Tomatoes critics shredded Jennifer Lopez’s new Netflix movie Atlas but it was the streamer’s most watched movie after only three days on the streamer.

Here’s a look at the 10 worst-reviewed movies (make that 11 since there’s a tie) new on Netflix in June, according to Rotten Tomatoes reviewers.

10. ‘Kicking & Screaming’ (2005)

Will Ferrell stars as Phil Weston in this sports comedy, a youth soccer coach who has never lived up to his competitive dad’s (Robert Duvall) expectations. Phil is put to the test when his soccer team faces off against his dad Buck’s team.

Rotten Tomatoes critics weren’t impressed with Kicking & Screaming’s impressive lineup—including a cameo by legendary NFL coach Mike Ditka—giving it a 41% “rotten” rating based on 142 reviews.

Audiences liked Kicking & Screaming a tiny bit more, as RT verified users gave the film a 43% “rotten” Audience Score based on 50,000-plus ratings.

Kicking & Screaming debuted on Netflix on June 1.

9. ‘Two Can Play That Game’ (2001)

Like Kicking & Screaming , the romantic comedy Two Can Play That Game has an impressive cast, including Vivica A. Fox, Morris Chestnut, Anthony Anderson, Gabriel Union and Mo’Nique.

Fox plays Shante, a woman who gives expert relationship advice to her girlfriends about keeping their boyfriends on the straight and narrow.

Shante, however, finds that following her own advice isn’t so easy when her beau Keith (Chestnut) shows he is just as adept at the relationship game.

Rotten Tomatoes critics didn’t find Two Can Play That Game to be an even match, though, giving the film a 40% “rotten” rating based on 62 reviews. Viewers largely disagreed with the critical assessment of the film as more than 25,000 verified users awarded Two Can Play That Game with an 83% positive Audience Score.

Two Can Play That Game debuted on Netflix on June 1.

8. ‘The Devil’s Own’ (1997)/ ‘Dune’ (1984) (Tie)

As the 1997 crime thriller The Devil’s Own proves, having two A-list global superstars does not guarantee a positive review from critics. In The Devil’s Own , Harrison Ford stars as New York police Officer Tom O’Meara, who unknowingly becomes entangled in a deadly plot by Frankie McGuire (Brad Pitt), a member of the Irish Republican Army.

Rotten Tomatoes critics refused to engage in the plot of The Devil’s Own , giving it a 37% “rotten” rating based on 41 reviews. Viewers like the film a bit more, giving it a 41% “rotten” Audience Score based on more than 25,000 user ratings.

The Devil ’s Own debuted on Netflix on June 1.

Nearly four decades before writer-director Denis Villeneuve tackled the adaptation of Frank Herbert’s classic 1965 novel Dune, legendary filmmaker David Lynch tried his hand at bringing the story of the messianic hero Paul Atreides ( Kyle MacLachlan ) to life on the big screen.

Critics buried Dune in reviews on Rotten Tomatoes , though, giving it a 37% “rotten” rating based on 117 reviews that stretch from current day to as far back as 1984 when the film debuted in theaters. More than 50,000 viewers have an opposite view of 1984’s Dune , though, awarding the movie with a 65% “fresh” Audience Score.

Dune debuted on Netflix on June 1.

7. ‘Welcome to Marwen’ (2018)

Steve Carell stars as Mark Hogancamp in this fantasy drama based on a true story from director Robert Zemeckis. After being beaten in a violent assault, Mark tries to piece his life back together by constructing a World War II-era Belgian town. It’s in the town—populated by dioramas and dolls—where Mark assumes the identity of a hero pilot to take himself away from his real-life torment.

Welcome to Marwen wasn’t welcomed by Rotten Tomatoes critics, which gave it a 34% “rotten” rating based on 171 reviews. The site’s Audience Score was better with a rating of 48% “rotten” user rating based on 1,000-plus reviews.

Welcome to Marwen will begin streaming on Netflix on June 16.

6. ‘A Million Ways to Die in the West’ (2014)

Movie Westerns have become a hard sell to audiences and critics in recent years, and writer-director Seth MacFarlane’s attempt to add comedy to the mix didn’t work for critics of A Million Ways to Die in the West .

The Family Guy creator certainly enlisted the talent to get the job done with a stellar cast including Charlize Theron, Liam Neeson, Amanda Seyfried and Neil Patrick Harris.

MacFarlane plays a sheep farmer in the Old West in A Million Ways to Die in the West , but Rotten Tomatoes critics put the movie out to pasture with a 33% “rotten” rating based on 212 reviews. Viewers thought the movie was “rotten,” too, awarding it a 41% “rotten” score based on 50,000-plus reviews.

A Million Ways To Die in the West debuted on Netflix on June 1.

5. ‘The Divergent Series: Insurgent’ (2015)

Like The Hunger Games , The Divergent Series is based on a set of hit Y/A novels about a future dystopian society. Insurgent is the second movie of author Veronica Roth’s book-turned-film series, following Divergent .

Shailene Woodley’s Tris and Theo James’ Four are the protagonists in the series, but Rotten Tomatoes critics hardly found the events of Insurgent heroic, giving the film a “rotten” 28% rating based on 207 reviews.

The film’s Audience Score of 58%—based on more than 50,000 user ratings, was a bit more forgiving, but still deemed Insurgent “rotten.”

The Divergent Series: Insurgent debuted on Netflix on June 1.

4. ‘Land of the Lost’ (2009)

Based on Sid and Marty Kroft’s classic Saturday morning TV series about a family who find themselves in prehistoric times after traveling through a time warp, Will Ferrell’s big-screen adaptation of The Land of the Lost was—for the lack of a better word— lost on critics.

Rotten Tomatoes reviewers gave Land of the Lost a combined 26% “rotten” rating based on 193 reviews, while audiences told the film to get lost, too, with a “rotten” 32% Audience Score based on more than 250,000 user ratings.

Land of the Lost debuted on Netflix on June 1.

3. ‘Fifty Shades of Grey’ (2015)

Simply put, E.L. James ’ massive bestselling novel 50 Shades of Grey didn’t translate well as a film adaptation. As such, the lurid tale about 21-year-old college senior Anastasia Steele’s (Dakota Johnson) descent into a BDSM relationship with billionaire businessman Christian Grey (Jamie Dornan) was met with a tough reception by critics.

Rotten Tomatoes reviewers gave Fifty Shades of Grey a 25% “rotten” rating based on 280 reviews, while viewers closed the book on the movie adaptation, too, with a 41% “rotten” Audience Score.

Fifty Shades of Grey will begin streaming on Netflix on June 18.

2. ‘National Security’ (2003)

While Martin Lawrence excels on the buddy cop comedy beat with Will Smith in the Bad Boys movie series, his turn as a security guard along with Steve Zahn in National Security was not locked up but locked out by critics.

As such, National Security was riddled with bad reviews as Rotten Tomatoes critics gave it a lowly 11% “rotten” rating based on 90 reviews. While more than 50,000 viewers had a much more positive reception for National Security , the film still only managed a 45% “rotten” Audience Score.

National Security debuted on Netflix on June 1.

1.‘The Divergent Series: Allegiant’ (2016)

The Divergent Series began in 2014 with Divergent , and everything went downhill from there with critical and audience response to the second and third film in the trilogy.

Like National Security , Rotten Tomatoes critics gave Allegiant an 11% “rotten” rating (based on 199 reviews) but the film’s 41 percent “rotten” Audience Score (based on 25,000-plus ratings) pushed it to the top—or is it bottom—of the 10 worst-reviewed films new on Netflix in June.

Given that the film series’ second chapter, Insurgent , scored a “rotten” 28% RT rating for the No. 5 slot, it only seemed fitting that Allegiant should get the No. 1 spot all to itself instead of sharing it with National Security .

The Divergent Series: Allegiant debuted on Netflix on June 1.

Note: This story has been updated from its original version to reflect a tie on the list and the addition of Welcome to Marwen.

Tim Lammers

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Review: 'Bad Boys' Will Smith, Martin Lawrence are still 'Ride or Die' in rousing new film

old movie reviews rotten tomatoes

Over three decades of “Bad Boys” movies, Will Smith and Martin Lawrence have traded many a zinger and racked up endless property damage with their buddy-cop exploits. And yet they still find fresh ways to make the franchise sing, like weaving in themes of death and mortality with giant hungry alligators and gunfights that rain down jelly beans.

“Bad Boys: Ride or Die” (★★★ out of four; rated R; in theaters Friday), the fourth installment of Smith and Lawrence’s action-comedy series, certainly doesn’t let up on the explosive, crowd-pleasing antics. But directors Adill El Arbi and Bilall Fallah, returning from 2020’s “ Bad Boys for Life ,” successfully evolve Miami cops Mike Lowrey (Smith) and Marcus Burnett (Lawrence) by having them confront their middle-aged vulnerabilities as inadvertent outlaws in an increasingly over-the-top tale.

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And if you’ve been a “Bad Boys” fan since the original 1995 Michael Bay film, “Ride or Die” pays off plot threads from previous flicks while catching audiences up with Mike and Marcus’ latest life changes. In the new movie, Marcus suffers a heart attack at Mike’s wedding, and the aftermath shows a flip in their usual dynamic: Marcus gains perspective and a newfound sense of immortality, while Mike begins to suffer panic attacks when he realizes how his job puts loved ones in danger.

They just need to figure their stuff out on the run. When their dearly departed boss Captain Howard (Joe Pantoliano) is accused of corruption and linked with drug cartels, Mike and Marcus make it their mission to clear his name with the help of the man who killed him: Armando Aretas (Jacob Scipio), revealed in the last film as Mike’s son. The detectives discover a deep conspiracy at foot, are framed for murder by a villainous ex-intelligence operative (Eric Dane) and wind up fugitives alongside Armando with a $5 million bounty on their heads.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

“Ride or Die” packs in a ton of exposition, subplots, extended action sequences, character moments and cameos (from Tiffany Haddish to DJ Khaled) in less than two hours. Although efficiency is welcome in today's age of the bloated run time, bits and pieces narratively fall into place sometimes too easily − though honestly, who comes to a “Bad Boys” movie looking for story logic?

It does deliver on the mayhem front: El Arbi and Fallah craft a nifty airborne spectacle where Mike and Marcus fight goons and G-forces to escape a crashing helicopter, an appetizer for a flaming car chase through Miami and a wild bullet-ridden affair at an abandoned amusement park. And Smith and Lawrence’s chemistry is as infectious as ever, yet they thankfully don’t even try to be the same guys they were in ’95.

The bickering is still there, as is the fist-bumping swagger, but the stars bring more of a relatable groundedness to Mike and Marcus. When not dealing with angry rednecks or backstabbing exotic dancers, Mike tries to keep Marcus from eating Skittles for his health, and Marcus has to slap Mike to snap him back into reality in a bad situation. (That scene, given Smith’s 2022 Oscars incident with Chris Rock , feels both too soon and knowingly pretty funny.) Interestingly, neither of the main men factor into the movie’s most rousing sequence − that centers on Reggie (Dennis McDonald), who was introduced as a mousy teen in 2003’s “Bad Boys II” but shows his mettle here as Marcus’ Marine son-in-law.

While many Hollywood franchises are flailing, “Bad Boys” instead enjoys a renewed relevance thanks to revved-up emotional stakes and a couple of old favorites still at the top of their game.

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Benedict Cumberbatch’s Disturbing but Poignant ‘Eric’ Is About Much More Than a Missing Boy: TV Review

By Aramide Tinubu

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When Edgar fails to arrive at school, Ledroit is put on the case. Still haunted by a lost Black teen, Ledroit is driven to get the Andersons a different outcome. This is no easy feat in a city determined to discard what is deemed unsavory, and everyone involved with the case is hiding something. As Ledroit chases down leads, slowed by inadequate technology, red tape and his own pain, the horrors of NYC’s government policies come to light. It becomes clear that misconduct and violence at the highest levels are complicit in harming the city’s youngest and most vulnerable citizens.

Ultimately, “Eric” is about much more than a missing boy. The series revolves around corruption and inhumanity, topics that will thunder in the viewer’s mind long after the final episode. Disturbing but profound, the show asks why only certain people are allowed happy endings and what that means for those who won’t ever see justice.

“Eric” premieres May 30 on Netflix .

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Can a Novel Tell Us How Ted Kaczynski Became the Unabomber?

Maxim Loskutoff’s “Old King” is set in the remote forests of Montana, where one resident began a campaign to destroy modern life as we know it.

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OLD KING, by Maxim Loskutoff

Ted Kaczynski may already have been harboring considerable resentments by his second year at Harvard, where the awkward, 17-year-old math prodigy lived in a dorm for similarly gifted students. He was under a lot of pressure from his parents to succeed. He’d skipped grades and missed out on building relationships with peers. He was socially isolated.

All of which makes his selection as a subject for a brutal psychological experiment bewildering. Run from 1959 to 1962 by a former lieutenant colonel in the Office of Strategic Services, the Harvard study was a sadistic, egregiously unethical attempt to measure the effects of extreme stress on humans.

Kaczynski, better known today as the Unabomber , was required to write about his personal beliefs, which were then used by an interlocutor to thoroughly demean him as he was monitored by electrodes and filmed. For over three years, Kaczynski subjected himself to hundreds of hours of intense interrogation and ruthless attacks on his most deeply held convictions. Maybe the abuse was a salve for loneliness.

Maxim Loskutoff’s new novel, “Old King,” doesn’t engage much with this formative part of Kaczynski’s life, turning instead to the fury that developed afterward. Loskutoff focuses on Kaczynski’s time in and around Lincoln, Mont., where he lived in his infamous cabin for more than two decades, wrote his manifesto and assembled the bombs that he would use to murder three people and injure 23 more.

Loskutoff’s characters are aptly chosen to illuminate and often voice the grievances that motivated Kaczynski. The evils of ever-encroaching technology and environmental degradation are admirably presented by Loskutoff not as the bugaboos of an unhinged crank, but as real-life conflicts in the ecotone of town and wild country.

Interestingly, Loskutoff doesn’t expound on his themes through Kaczynski as much as he does through the people of Lincoln who toil in the narrative foreground. Poachers are thwarted by an odd couple of animal rescuers. A ranching family with unruly cattle hunt and drink and start fights like the evil princelings they are. And a single father who runs out of gas in Lincoln winds up sticking around, falling for a local waitress and giving his mysterious neighbor Ted the occasional ride.

But that mysterious neighbor is trying to ignite a revolution, and some of Loskutoff’s best prose comes in moments of raw violence. A young man thrown into the air by one of Kaczynski’s booby traps finds himself “untethered from gravity, and terribly free.” And this haunting passage stuck with me for days as a man watches himself blown apart: “ That’s my body, he thought, overwhelmed by horror. I need it .”

While Kaczynski’s bombs go off as expected, the man himself is much the cipher. An appearance by a postal inspector tantalizingly suggests the possibility of sleuthing and narrative tension, but Loskutoff’s interests largely remain within Lincoln. Kaczynski’s psychology is mainly rage.

What feels missing are the wherefores behind a program of systematic violence and a manifesto arguing for the destruction of modern life as we know it. Was it the mental torture at Harvard? The industry and development moving in on Lincoln? Or something murkier? I reread Kaczynski’s manifesto and was struck by how banal it is. Many initial reactions were laudatory, but today its core argument seems striking in how revelatory it isn’t. Yes, technology has overtaken our lives, and yes, the natural world is paying a heavy price — but we still want insulin and prescription lenses. Maybe that’s why Loskutoff doesn’t put Kaczynski front and center: He doesn’t have anything to say.

And in “Old King,” Loskutoff seems to suggest that Kaczynski had the same self-assessment. “He felt dizzy,” he writes near the end of the book as Kaczynski imagines his boyhood self regarding him in his craziness. “‘Go away,’ he mumbled, digging his long nails into his scalp. ‘Leave me alone.’”

OLD KING | By Maxim Loskutoff | Norton | 283 pp. | $27.99

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Want to know about the best books to read and the latest news start here..

John S. Jacobs was a fugitive, an abolitionist — and the brother of the canonical author Harriet Jacobs. Now, his own fierce autobiography has re-emerged .

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Jenny Erpenbeck’s “ Kairos ,” a novel about a torrid love affair in the final years of East Germany, won the International Booker Prize , the renowned award for fiction translated into English.

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Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

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Movies on Vudu (2024)


  1. Rotten Tomatoes' top 100 classic movies of all time

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  2. The countless oddities of the Rotten Tomatoes Top 100 Movies of All

    old movie reviews rotten tomatoes

  3. Movies with the greatest difference between Rotten Tomatoes critic and

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  4. Rotten Tomatoes Reviews

    old movie reviews rotten tomatoes

  5. Rotten Tomatoes Ratings System

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  6. 21 Movies That Scored 100% on Rotten Tomatoes

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  1. Oldboy (2003) Film Review: An Unforgettable Cinematic Experience!

  2. A 13 Year Old Reviews Sniper Special Ops #moviereview

  3. Why Should Trust Movie Audience Rating but Not TV on Rotten Tomatoes

  4. Rotten Tomatoes Enforces More Censorship

  5. Rotten Tomatoes Critics EXPOSED

  6. Old (2021 Film)


  1. Old

    The 88 Most Anticipated Movies of 2021 Weekend Box Office Results: Old Tops Snake Eyes With Surprise $16.5 Million Haul "Rotten Tomatoes Is Wrong" About… M. M. Night Shyamalan

  2. 100 Best Classic Movies of All Time

    The Treasure of the Sierra Madre (1948)100%. #9. Critics Consensus: Remade but never duplicated, this darkly humorous morality tale represents John Huston at his finest. Synopsis: In this classic adventure film, two rough-and-tumble wanderers, Dobbs (Humphrey Bogart) and Curtin (Tim Holt), meet up with a veteran...

  3. Old movie review & film summary (2021)

    Rod Serling would have loved it. And "Old" is very effective when Shyamalan is being playful and quick with his high concept. "Old" doesn't really feel like a traditional mystery. I never once cared about "figuring out" what was happening to this crew, enjoying "Old" far more as surreal horror than as a thriller that demanded ...

  4. Old (film)

    Old is a 2021 American body horror thriller film written, ... On the review aggregator website Rotten Tomatoes, 50% of 343 critics' reviews are positive, with an average rating of 5.50/10. ... Drama Movie of the Year Old: Nominated Saturn Awards: October 25, 2022: Best Thriller Film: Old: Nominated

  5. 'Old' reviews: What critics thought of M. Night Shyamalan's thriller

    Key Points. "Old" currently holds a 55% "Rotten" score on Rotten Tomatoes from 153 reviews. Critics agreed that "Old" is not Shyamalan's best work, but far from his worst. Clunky ...

  6. 'Old' Review: They Say Sun Can Age You, but This Is Ridiculous

    July 22, 2021. Old. Directed by M. Night Shyamalan. Drama, Mystery, Thriller. PG-13. 1h 48m. Find Tickets. When you purchase a ticket for an independently reviewed film through our site, we earn ...

  7. 100 Best Classic Movies of All Time

    The Hustler (1961)94%. #116. Critics Consensus: Paul Newman and Jackie Gleason give iconic performances in this dark, morally complex tale of redemption. Synopsis: Story Fast Eddie Felsen (Paul Newman) and his adventures in the world of professional pool.

  8. M. Night Shyamalan's 'Old': Film Review

    Director-screenwriter: M. Night Shyamalan. Rated PG-13, 1 hour 48 minutes. Gael García Bernal and Vicky Krieps play Guy and Prisca, parents who want to take their kids Trent and Maddox (Nolan ...

  9. 'Old' review: Beach speeds up aging in M. Night Shyamalan's latest

    Universal Pictures presents a film written and directed by M. Night Shyamalan, based on the graphic novel "Sandcastle" by Pierre Oscar Lévy and Frederik Peeters. Rated PG-13 (for strong ...

  10. Old (2021)

    Old (2021) on IMDb: Movies, TV, Celebs, and more... The latest madcap offering from the filmmaker who has made a career out of coming up with truly insane & ambitious ideas over the years (whether he is able to make them work or not in execution being a whole another debate), Old finds the (in)famous writer-director once again experimenting with a crazy concept but the end result is a mixed ...

  11. M. Night Shyamalan 'Old' Movie Review

    It's the feelings Shyamalan has mined, all along, that make the movie worth seeing. The conclusory info dump is, by comparison, just a bullet point. Gael García Bernal, Horror, M. Night ...

  12. 'Old' Movie Review: M. Night Shyamalan's New Horror Film

    M. Night Shyamalan's Old is beautifully made and terribly written. The Sixth Sense director still has a way with sinister shots, but is oddly invested in having the audience care about his ...

  13. Old brings out the best and worst in M Night Shyamalan

    Old feels like a repeat of Shyamalan's 2004 film The Village - it's provocative and inventive right until the point the director retreats into narrative neatness and conventional emotions.

  14. Old

    Jul 23, 2021. Shot with a poet's eye and a tin ear for dialogue, this tricked-up thriller about the horror of getting old too fast brings out the best and worst in M. Knight Shyamalan by throwing a wet beach blanket on a Covid-resonant premise about sudden death and the collapse of time. Read More.

  15. Old Review: M. Night Shyamalan's Mystery Is Tedious, But Intense

    Adapted from Sandcastle, the graphic novel by Pierre-Oscar Lévy and Frederik Peeters, M. Night Shyamalan's latest mystery-thriller, Old, is different from the films he's written and directed in the past.The film is less focused on the traditional horror elements, which is refreshing, even as it shifts towards a message that is underdeveloped when considering the big twist.

  16. Old: Why The M. Night Shyamalan Movie's Reviews Are So Mixed

    Old has been compared both favorably and unfavorably to the strangeness and goofiness of Shyamalan's 2008 movie The Happening, and has received both rave reviews and one-star tear-downs. As of the time of writing, it holds an almost perfectly even score of 52% on Rotten Tomatoes. Here's what some of the negative reviews of Old said about the movie.

  17. Old Movie Review

    Parents Need to Know. Parents need to know that writer-director M. Night Shyamalan's Old is a thriller that explores what happens when vacationing strangers are stranded on a beautiful beach that ages them at a remarkable rate. Like all of Shyamalan's movies, there are plot twists and turns, as well as a sustained sense of peril….

  18. Rotten Tomatoes

    Rotten Tomatoes is an American review-aggregation website for film and television.The company was launched in August 1998 by three undergraduate students at the University of California, Berkeley: Senh Duong, Patrick Y. Lee, and Stephen Wang. Although the name "Rotten Tomatoes" connects to the practice of audiences throwing rotten tomatoes in disapproval of a poor stage performance, the direct ...

  19. Why old movies get better ratings on Rotten Tomatoes ...

    Notice that the reviews start to level out a bit more around those dashed lines at 1996, 1998, an 1999. Those are the respective launch years for IMDb, Rotten Tomatoes, and Metacritic.

  20. Old Henry movie review & film summary (2021)

    And he puts it to undeniably superb use in the early portions of this movie. He's heard before he is seen, telling the viewer of his origins: New York born, he spent time Kansas, Arizona and New Mexico; the movie's setting, 1906, finds him in the territory of Oklahoma, farming. As he works the land, Henry's son Wyatt, bored with his tasks ...

  21. The Acolyte First Reviews: A Familiar but New Vision ...

    The latest Star Wars TV series released its first two episodes this week, and its first reviews continue the Fresh streak for the franchise on the small screen. Titled The Acolyte, this show is even more prequel than the prequels, as it is set around 100 years before the events of Star Wars: Episode 1 - The Phantom Menace, in the time of the High Republic era.

  22. Bad Boys 4 Reviews & Rotten Tomatoes Score Promise One of the ...

    The reviews for Bad Boys: Ride or Die are now in, as the Rotten Tomatoes score, with the action sequel standing as one of the best installments in the franchise.The fourth latest Bad Boys outing ...

  23. The Old Way

    Cathy P It was predictable and slow at times. Rated 3/5 Stars • Rated 3 out of 5 stars 01/23/23 Full Review Disappointed It was like watching a very low budget movie with inexperienced actors.

  24. The 10 Worst-Reviewed Movies New On Netflix In June 2024

    MacFarlane plays a sheep farmer in the Old West in A Million Ways to Die in the West, but Rotten Tomatoes critics put the movie out to pasture with a 33% "rotten" rating based on 212 reviews ...

  25. 'Bad Boys 4' review: Will Smith, Martin Lawrence are 'Ride or Die'

    Review: 'Bad Boys' Will Smith, Martin Lawrence are still 'Ride or Die' in rousing new film Here's Johnny! Buzzy slasher movie 'In a Violent Nature' unleashes a gory kill to die for From 'Bring It ...

  26. 'Eric' TV Series Review: Benedict Cumberbatch Stuns In ...

    In Netflix's limited series "Eric," from screenwriter Abi Morgan ("Shame," "The Hour"), famed puppeteer Vincent Anderson (Benedict Cumberbatch) and his wife, Cassie (Gaby Hoffmann ...

  27. Book Review: 'Old King,' by Maxim Loskutoff

    Maxim Loskutoff's "Old King" is set in the remote forests of Montana, where one resident began a campaign to destroy modern life as we know it. By Smith Henderson Smith Henderson is the ...

  28. Movies on Vudu (2024)

    Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets