A thrilling concept paired with simple sci-fi roots struts around confidently in the sand, each footstep looking a lot hollower than first anticipated. A shame, as all Old needed was a better plot to go along with its compelling questions.

Known for his last-minute twists that often bring to light a key piece of the puzzle, M. Night Shyamalan often finds himself on one of the two poles of the enjoyment scale: complete fervour as the world still speaks of Sixth Sense’s ghastly plot-twist in hushed tones, or melancholic disappointment as dancers somehow control the elements by flailing their arms about in The Last Airbender. Old finds itself perched between them, itself polarising as Shyamalan searches for a fresh and puzzling horror; washing up on the beach like a dull diamond in the rough.

The seemingly ordinary couple, Guy and Prisca Cappa (Gael García Bernal and Vicky Krieps), find themselves on a well-needed trip to a relatively unknown resort with their young kids Maddox (Alexa Swinton) and Trent (Nolan River). Tensions high between the bickering parents, the family are informed (in a highly creepy manner) about a secluded beach by the resort’s management. Accompanied by a handful of other guests (all of which implied to have been chosen by the resort), the Cappas find themselves checking their watches more often than they like as time seems to travel faster on the cliff-protected sand.

Old wastes no time creating intrigue. Between the quiet soundscape and alienating cinematography, it is hard to not be caught up in the Cappa’s lives, more specifically the kids’. Excited at the prospect of being on this tropical island, Maddox and Trent explore the resort as their parents argue in the other room, whispered discussions about their impending divorce hidden from the kids. On the beach, the pair come to life as the sci-fi social experiment begins; their sped-up aging being seen through the lens of such young minds.

As each character ages, the adults are given subtle additions to their look (such as added wrinkles or greying sideburns) while the more drastic growth of the kids means a change of actor. Each time a new actor took the role of Maddox or Trent, there was no question as to who I was looking at, each latest addition resembling their younger counterpart enough to shift the role over without any pushback. While this allowed actors such as Thomasin McKenzie and Alex Wolff to highlight the differences between their physical and mental (or actual) ages, others seemed to be left behind as accents got in the way of chemistry; dialogue feeling unemotive and stretched thin as Bernal and Krieps lack any tangible connection.

Trip of a lifetime… Nolan River. Photo: Universal Pictures.

Unsurprisingly, Shyamalan does make some odd choices that do start to become clearer as the film goes on, but not because of any twist. While it is horrifying to grow old and die on a beach in the span of a single day, Old feels a lot more informative than emotive as situations are presented and somewhat forgotten by the end. I found myself losing interest in who will survive and who won’t, instead focusing on questions raised throughout the film.

A child is physically aging faster than they should be, so how would they react? Would they still speak like they were 6, or would they suddenly mentally mature in tandem with their body? Although the plot may not be anything to write home about, my interest in the siblings kept me hooked as their brains developed to accept concepts that would have sent them reeling only a couple hours ago, creating this weird limbo between young and old; increasing intelligence without the wisdom to guide it nor the time to learn.

As engrossing as their relationship was, it is hard to look past the rest of the film. Very few moments could be considered ‘horrific’, and even they were as fleeting as they were rare, replaced by the hollow Cappa family dynamic. Instead of an exciting build-up of thrilling clues, a list of bland exposition leads into a fizzled-out climax. There is no blinding revelation that recontextualises the ethical quandaries, in its place is a long and bumpy road that seems to curve away in the distance only to find that the bend was a mirage, and you are standing exactly where you thought you would be two hours ago. 

Old is currently showing in select cinemas.