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‘Knock at the Cabin’: Puttin on your boogie shoes!
Reviewed by Alicia Glass
Spoilers be knockin’ too!
Based on the 2018 novel The Cabin at the End of the World by Paul G. Tremblay, while on vacation at their cabin, a family is terrorized by a quartet of strangers who demand they make an impossible decision in order to avert the world-destroying apocalypse!
This is a strange one, even for Shymalan. The theme of “it’s just not enough” runs rampant throughout the film, whether it be character motivations, resolve, end results, or even proof of what these strangers are espousing. I could excuse the whole apocalypse news non-proof as a matter of faith, which isn’t supposed to be proven as a matter of course, but it’s not as if any of these characters had an actual religious revelation. Just speculation, and a leap of faith, not in any kind of deity, but the potential inherent goodness in humanity, at the very end. And if any of the characters, either Andrew and Eric or the apocalypse crew, had had some kind of massive revelation in that vein, the ending would’ve had a lot more punchy impact. As it was, things just kind of petered out in an exhausted fashion.
So Eric (Jonathon Groff) and Andrew (Ben Aldridge) genuinely love each-other, despite parental and societal objections, and personal shortcomings, to the point where they’re ready to have (adopt) a baby together. And Wen (Kristen Cui) truly is a miracle, scarred lip and Asian heritage and all. But the fact remains that our lovely gay couple have to pretend that one of them is the brother of a fictitious wife who mysteriously couldn’t be there on adoption day, otherwise it wouldn’t be allowed at all; Andrew’s parents drove seven hours to meet the love of his life and stayed for all of forty-five excruciating minutes of virtual silence; and then there’s the homophobic trash starting fights at a bar, that ended with Andrew traumatized and determined to defend himself and his love. (One of the few great things about the film is the clear demonstration of an expression, pardon me here: “Just because a man is gay, does not make him a p*ssy.”)
All these experiences had a tendency to have a kind of polarizing effect on Eric and Andrew, who are still together but now seem to have deepened into separate opinions on humanity – Andrew is, to my mind anyway, justifiably angry and wrathful, whereas Eric simply smiles beatifically, like an angel who forgives you no matter what you do, willingly suffering martyrdom or at the very least some massive head trauma, offered up like a sacrifice of love. And hey, speaking of sacrifices ….
None of that has been piecemealed out to the audience as yet, when Wen meets a large disturbing man while out hunting grasshoppers at the cabin. Leonard (Dave Bautista), is the gentle but insistent giant, leader of the quartet come here to present Eric and Andrew’s family with an impossible choice: voluntarily sacrifice someone of our trio, to save the whole world from the apocalypse, end of days, wtfever you want to call it.
With Leonard is a trio of believers, all claiming to have seen the same visions, seeing each-other wear the exact same colors as they invade the cabin, the horrific destruction of the world by fire and flood and plane-death, even the homemade apocalypse avatar weapons, all intent and terrified, but singularly determined. Sabrina (Nikki Amuka-Bird) is, or was, a nurse practitioner, and deals violence with one hand while immediately trying to heal it with the other, hence a mightily contradictory character who still resolves to see this through to the end. Adriane (Abby Quinn) is the twitchy, nervously tic-ing line cook, the one who regards serving good food as a form of love and laughs a little too much, like she’s gone insane just by being here, which is about par for this course. And rounding out our foursome is Redmond (Rupert Grint), impatient and jittery and more prone to violence than any of the rest of them, the one who seems eerily familiar in fact, the first to suggest savagery to get Eric and Andrew to cooperate, and the first to die as a consequence.
Time is running out and though Leonard is profusely apologetic, we absolutely must continue with the attempts to save the world, there are rules to be followed, and we only get a few more chances. As if the calamitous news stories about planes falling out of the sky and catastrophic tsunamis consuming coastlines wasn’t enough, every time Eric and Andrew refuse to make a choice, a believer has to die and (another) plague is unleashed upon mankind. Seeing a stranger, fanatic zealot or not, get brutally slain with homemade doomsday weapons after voluntarily dropping to his/her knees and donning a white hood is disturbing, to say the very least. And yet, despite literally shaking in their boots and sobbing like the Niagara, our faithful are here to give it a few more last, desperate goes at saving the whole world!
There’s a general agreement that director Shyamalan’s films have been steadily going downhill since arguably his magnum opus The Sixth Sense, and Knock at the Cabin is no real exception. There isn’t really even any kind of twist or gotcha that Shyamalan’s known for – actual aliens, ghostly supernatural shenanigans, killer plants, centenarian-laced beaches, all of that and more is nowhere to be found in our Cabin. Just a very disquieting sense that two beleaguered gay men forced into being the deciders of the fate of humanity as a whole, to offer up their true, real love as a sacrifice to some seriously sh*tty (and yknow, occasionally murderous) other humans is highly inflammatory and judgmental. Maybe that’s what Shyamalan was going for, who knows? And as always, Shyamalan himself gets a cameo in the film, see if you can spot him!
Save your judgment for the very last scene and catch Knock at the Cabin in theaters now!
Directed by: Rajesh Kumar | Written by: Rajesh Kumar | Starring: Vijay Sethupathi, Nayanthara, and Pasupathi
Genre: Drama, Thriller | Runtime: 2 hours 45 minutes
Available on: Netflix | Studio: Red Studios
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Thandel is a gripping drama-thriller that examines the deep-rooted social and political issues prevalent in rural India. Directed and written by Rajesh Kumar, the film brings to light the stark realities of human suffering, class divides, and systemic oppression while weaving a powerful narrative of hope and resistance. With stellar performances by Vijay Sethupathi, Nayanthara, and Pasupathi, this film offers more than just entertainment – it’s a powerful commentary on society.
The story centers around Karthik (Vijay Sethupathi), an idealistic young man who returns to his village after years of studying in the city. He quickly realizes that his community is being threatened by a corrupt political system that is destroying the very fabric of rural life. His attempts to restore justice and bring about change lead him into a whirlwind of tension, deceit, and violence. As Karthik allies with Anjali (Nayanthara), a strong-willed social activist, the two face constant opposition from powerful forces.
The narrative is slow-burning at first but quickly accelerates, with each twist revealing more about the characters’ motivations, fears, and hopes. The layered storytelling keeps you hooked until the very end.
Vijay Sethupathi delivers yet another powerful performance, effortlessly transitioning between the earnestness of his character and the complex moral dilemmas he faces. Nayanthara, as always, excels in portraying the fiery yet vulnerable activist, and her chemistry with Sethupathi elevates the emotional depth of the story.
Pasupathi, in a key supporting role, steals the show with his nuanced portrayal of a villain who is more human than one might expect, further adding complexity to the story.
Rajesh Kumar’s direction is both poignant and precise. His attention to detail in capturing the rural landscape of India creates a sense of place that is both beautiful and haunting. The cinematography is immersive, with sweeping shots of the village contrasted by intimate close-ups that highlight the emotional turmoil of the characters. The direction adds weight to the social commentary while never sacrificing the entertainment value of the plot.
The soundtrack, composed by Anirudh Ravichander, is another standout element of Thandel. The haunting score perfectly complements the film’s dark themes, while songs like “Thamizh Puthu” bring an uplifting energy to the narrative at the right moments. The sound design plays a crucial role in amplifying the tension in key scenes, immersing the viewer further into the tense atmosphere.
At its core, Thandel is a powerful examination of social inequality, the exploitation of rural communities, and the complex relationship between political power and the people. The film touches on corruption, justice, and the role of activism in driving societal change. Through its nuanced portrayal of its characters and their personal struggles, it urges viewers to think about the impact of systemic oppression and the importance of standing up for what is right.
Thandel is a thought-provoking, emotionally charged film that blends drama with thriller elements. Its intelligent screenplay, solid performances, and striking visuals make it an essential watch for anyone interested in socially relevant cinema. While the pacing may be slow for some viewers, the emotional payoff and the film’s profound message make it well worth the wait.
Rating: 9/10
Language: Telugu
Genre: Action | Drama | Masala
Director: S. S. Rajamouli
Producer: V. Doraswamy Raju
Studio: VMC Productions
Runtime: 171 minutes
Release Year: 2003
Lead Cast:
Jr. NTR as Simhadri
Bhumika Chawla as Indu
Ankitha as Kasturi
Mukesh Rishi as Bhai Saab
Nassar as Ram Bhupal Varma
Simhadri is a landmark Telugu masala action film directed by the now-legendary S. S. Rajamouli in his sophomore effort. It was a turning point for Jr. NTR, catapulting him from rising star to full-fledged mass action hero.
The film follows Simhadri, an orphan adopted by a wealthy family who leads a dual life—loyal servant by day, ruthless protector of justice by night. The story blends traditional Telugu family sentiment with high-octane action and melodrama, perfectly aligned with the masala genre.
S. S. Rajamouli’s direction is explosive and ambitious. Even in his early career, Rajamouli had a knack for balancing mass appeal with emotional resonance. He crafts action set pieces with remarkable intensity and paces the film to maintain constant engagement, especially for fans of dramatic twists and adrenaline-pumping sequences.
Jr. NTR’s performance is nothing short of a powerhouse. He balances the fiery, vengeance-fueled action hero with tender vulnerability, particularly in scenes with Bhumika Chawla’s Indu. His screen presence is magnetic, commanding during action scenes and soulful in emotionally heavy moments. Simhadri became a benchmark role that showcased his physical agility, command of dialogue, and capacity for deep emotional expression.
The supporting cast adds weight, especially Mukesh Rishi, who delivers a memorable performance as the antagonist. Bhumika Chawla brings sensitivity to her role, though her character remains more reactive than proactive in the plot. The music by M. M. Keeravani bolsters the emotional arcs and gives Jr. NTR some memorable songs to dance and emote to.
Visually, the film carries the early 2000s aesthetic—slightly exaggerated but vibrantly stylized. The fight choreography is brutal and kinetic, and even two decades later, it retains a raw energy that many modern films lack.
Simhadri is a quintessential Telugu action-drama that delivers on spectacle, sentiment, and star power. It cemented Jr. NTR’s place in the pantheon of Telugu cinema and hinted at the grandeur Rajamouli would later bring to Indian cinema globally.
Rating: 8.5/10 A must-watch for fans of Jr. NTR, Rajamouli, or Indian mass entertainers.
Genre: Animated Comedy, Adventure, Family
Runtime: 78 minutes
Director: Philippe Grimond
Writer: Pierre Tchernia (screenplay), based on the comic book by René Goscinny and Albert Uderzo
Studio: Gaumont Film Company
Language: French (available with English subtitles and dubbing)
Voice Cast: Roger Carel (Asterix), Pierre Tornade (Obelix), Henri Labussière (Panoramix), Roger Lumont (Caesar)
Now streaming on Netflix, Asterix and Obelix: The Big Fight is a whimsical and witty animated adaptation of the beloved French comic series. Originally released in 1989, this classic cartoon still delivers laughs and adventure as Asterix and Obelix defend their tiny Gaulish village against Roman invaders—this time without their trusty magic potion.
The story centers on Panoramix (Getafix), the village druid, who loses his memory after being hit by a flying menhir—leaving the secret recipe for the strength-giving potion forgotten. With Caesar and the Romans plotting to defeat the now vulnerable Gauls, it’s up to Asterix, Obelix, and their fellow villagers to outwit the invaders through sheer cleverness and courage.
Director Philippe Grimond maintains the visual flair of the original comics, infusing the film with vibrant colors and playful animation. The writing by Pierre Tchernia balances slapstick humor with subtle satire, making it enjoyable for both kids and nostalgic adults. The film moves at a quick pace, keeping its 78-minute runtime engaging from start to finish.
Voice performances are energetic and full of personality—especially Roger Carel as the sharp and spunky Asterix, and Pierre Tornade as the lovable and literal-minded Obelix. While the animation is old-school by today’s standards, its charm remains undeniable.
Asterix and Obelix: The Big Fight is a charming animated classic that still packs a comedic punch. It’s an essential watch for fans of European comics, vintage animation, or anyone looking for a light-hearted family movie night.
Rating: 7.5/10 – A funny, fast-moving cartoon that stays true to its comic book roots while delivering timeless fun.
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