M. Night Shyamalan is back, and he’s swinging for the fences with Old—a film that’s as bold, unsettling, and unexpectedly moving as the director himself. But here’s where it gets controversial: Is Shyamalan truly the 'Next Spielberg,' as Newsweek once proclaimed, or is he a filmmaker whose ambition often outpaces his execution? Let’s dive in.
Back in August 2002, Newsweek made waves by dubbing a stern-faced M. Night Shyamalan ‘The Next Spielberg’ on its summer cover. For the then 31-year-old, Indian-born, Pennsylvania-raised director, it was a dream come true. Raised on cinematic masterpieces like Jaws and Raiders of the Lost Ark, Shyamalan had always chased the stratospheric fame of his idols. Yet, despite the runaway success of The Sixth Sense, his career soon took a nosedive. Why? His unique directing style clashed with the grand ambitions of his projects, alienating audiences and critics alike. But after a hiatus from Hollywood and a return to his indie roots, Shyamalan reemerged in 2021 with Old—a high-concept thriller that reignites his fascination with family, parenting, and the mysteries of the unknown.
Old unfolds in real-time over a single day, following a group of strangers and families who discover their idyllic beach vacation is anything but. The secluded cove ages them rapidly—years in hours—and any attempt to leave results in a disorienting blackout. And this is the part most people miss: Shyamalan uses this supernatural premise to explore deeply human themes, from the fragility of life to the inevitability of aging. Shot during the pandemic in the Dominican Republic, the film’s eerie isolation feels almost palpable, amplifying the characters’ desperation.
The ensemble cast is a tapestry of quirks and ailments. Prisca (Vicky Krieps) and Guy Cappa (Gael García Bernal), on the brink of divorce, bring their children for one last family trip after Prisca’s ovarian tumor diagnosis. They’re joined by a schizophrenic surgeon (Rufus Sewell), his hypocalcemic trophy wife (Abbey Lee), and a hemophiliac rapper named Mid-Sized Sedan (Aaron Pierre). Shyamalan wastes no time exploiting their vulnerabilities, crafting heart-pounding sequences where the beach’s curse accelerates their conditions. In one gut-wrenching scene, Prisca’s tumor grows at an alarming rate, forcing the surgeon to operate while battling his own mental breakdown.
This is classic Shyamalan territory—inexplicable events exposing raw human truths. From Signs to the Unbreakable universe, his films wrap difficult realities in genre packaging. In Old, watching a child age into adulthood in minutes forces us to confront the illusion of gradual aging—a process we ignore until it’s inescapable. But here’s the twist: Shyamalan doesn’t just stop at horror. A cheeky cameo by the director himself sets up a thought-provoking question: How far will society go in the name of progress?
While echoes of The Twilight Zone, Cronenberg’s body horror, and Spielberg’s sentimentality linger, Old remains distinctly Shyamalan: earnest, ambitious, and unapologetically abrasive. In an era dominated by franchises and IP-driven content, he’s a filmmaker who dares to take risks—much like his childhood idol. Love him or hate him, Shyamalan’s voice is undeniable.
Old is available to rent in Australia, the UK, and the US. Now, here’s the question for you: Does Shyamalan deserve the Spielberg comparison, or is he a filmmaker whose vision often outstrips his execution? Let’s debate in the comments!
