Ishana Night Shyamalan‘s directorial debut, The Watchers
, follows a similar path to that of her famous father, M. Night Shyamalan. While the premise appears promising, the film ultimately fails to deliver on its early potential.
Updated June 09, 2024 / Published June 09, 2024 / Warner Bros. Pictures
Based on A.M. Shine’s novel, The Watchers
showcases a gripping start but struggles to maintain momentum.
As seen in her work on the Apple TV+ series Servant, young Shyamalan proves adept at creating an unsettling atmosphere through clever framing and eerie soundscapes. This skill shines brilliantly in the initial sequence of The Watchers
, where a man desperately tries to escape dark, mist-filled woods—emphasizing the forest’s deadly allure. Mina (Dakota Fanning) narrates that these woods draw in lost souls
, an ominous nod to the unfolding events.
Dakota Fanning excels as Mina, a 28-year-old artist tasked with transporting a yellow parrot to Belfast. Her journey is derailed when strange symbols flash on her electronics and her car inexplicably shuts down, plunging her into an untouched western Irish forest.
Based on author A.M. Shine’s novel of the same name
, Mina soon realizes she’s trapped alongside three strangers: Daniel (Oliver Finnegan), Ciara (Georgina Campbell), and Madeline (Olwen Fouéré). The tight group takes refuge in The Coop
, facing mysterious creatures each night.
Madeline explains that the creatures observe from a massive two-way mirror, adhering to strict rules such as never turning your back on them or leaving the Coop at night
. This suspenseful premise initially grips viewers, establishing a sense of voyeurism and boundaries between seen and unseen entities.
Unfortunately, the movie stumbles through its narrative knots after this setup. It leaps forward unpredictably, introducing twist upon twist with diminishing returns. The climax and its subsequent explanations sap earlier suspense instead of enriching it. For example, learning more about the protagonists’ backgrounds shifts focus from immediate tension to broader mythological contexts.
The ensemble cast delivers strong performances within these constraints; each adds dimension to an otherwise straightforward woodland horror story. Georgina Campbell shines particularly bright with her portrayal of Ciara, bringing gravitas and complexity to the character.
Ireland itself becomes a haunting character via pristine forest landscapes captured beautifully throughout.
Ultimately however, The Watchers falls victim to repetitive narrative devices, struggling under its need for intricate yet clumsily executed plot twists which leave audiences scratching their heads rather than gripped by fear or curiosity.
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