![]() Leonard eventually gets the gun from them but slits his own throat, telling the two men they have one last chance to make their sacrifice and save the world. Then the two men face Leonard and send Wen to hide in a nearby treehouse. Andrew returns to the cabin with his gun and shoots Sabrina to death. In the movie, the invaders also ritualistically execute Ardiane, launching another apocalyptic event, before Eric and Andrew escape. Eventually, they break free and wrestle with their remaining captors, with Andrew running to their car to get the gun he’s brought for self-defense.īut then the two stories veer in radically different directions. The two men dismiss the events as coincidence. Leonard claims his death has unleashed a fresh stage of the apocalypse, and tries to prove it by showing Eric and Andrew news reports on TV. So the invaders, who are carrying weird weapons beaten together from common tools (a pitchfork, a series of rocking pizza cutters, and more), ritualistically murder Redmond, who fearfully but passively surrenders his life. In both versions, Eric and Andrew naturally refuse to believe the apocalyptic story, or kill each other. The first half of the movie is largely back-and-forth between the two groups, as Leonard’s team tries to convince the family that the threat is real, and Eric and Andrew do their best to debunk it and get the invaders to see reason. ![]() They’re all horrified by what they’ve seen and experienced, and while none of them want to terrorize Wen and her dads, they understand how unbelievable their message is. The four outsiders lay out their backstories: They’re all ordinary people who seem to have been chosen as heralds by some unknown force. Leonard and the other three invaders - Redmond (longtime Harry Potter movie stalwart Rupert Grint), Sabrina (Nikki Amuka-Bird), and Ardiane (Abby Quinn) - have all experienced visions of the impending disasters that they believe will destroy the planet if Eric, Andrew, and Wen refuse to make their sacrifice. He’s the first of four strangers who have come to the cabin to hold Wen and her fathers hostage and present them with a choice: One of them must voluntarily sacrifice themselves to prevent the apocalypse. Young couple Eric (Jonathan Groff) and Andrew ( Fleabag’s Ben Aldridge) are vacationing at a remote, rustic rental cabin with their adopted daughter, Wen (Kristen Cui), when a muscular, intimidating stranger, Leonard (Dave Bautista), approaches Wen and gently befriends her. Even the casting seems heavily inspired by Tremblay’s description of the characters. Roughly the first half of Knock at the Cabin adapts The Cabin at the End of the World in almost line-for-line detail, with much of the dialogue transcribed directly from Tremblay’s book. That book has a much darker ending - and a radically different message. It isn’t exactly an uplifting or optimistic movie, but it’s a fairly spiritual one, suggesting that while belief and doubt naturally go hand-in-hand, it’s better to have faith than surrender to cynicism.Īll of which is radically different from Paul Tremblay’s 2018 novel The Cabin at the End of the World, which Shyamalan and screenwriters Steve Desmond and Michael Sherman adapted for the movie. Much of the movie hangs on the kinds of big questions that have always dominated religious conversations: What’s true, what should we take on faith, and how should we live as a result? But like Shyamalan’s other films that touch on religion, faith, destiny, and supernatural intervention, Knock at the Cabin at least suggests that there’s some form of hope and catharsis in belief. Knock at the Cabin takes those ideas in grim directions, funneling them through a home invasion thriller that pits a quartet of true believers against a terrified family who sees them as violent, delusional fanatics. At its heart, Signs grapples with religious faith and doubt, and what it means to experience a life-changing conviction that other people don’t share. Night Shyamalan’s Knock at the Cabin fits neatly into the pattern of his past movies, particularly his religious-themed alien-invasion thriller Signs.
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