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[Shyamalan] doesn’t appear to take [his characters'] visionary experience seriously, but only its effect, as sheer power—essentially, as supernatural Hitlerians exterminating hundreds of thousands... The drama [he] pursues is how reasonable and well-intentioned people can and should respond to possessed destroyers who hold them hostage. The movie’s answer is a sickening one.

[Knock at the Cabin] makes a fine analog — and even maybe a counterpoint — to the common superhero movie, in which beings of great power come together over and over again to save the Earth... The result is the most exhilarating and wounding film M. Night Shyamalan has made in many, many years.

One perhaps overly generous way to look at Knock at the Cabin is that it gives gay people some degree of agency over our position in today’s fraught discourse... [The film] may insist that its alternative family battle and negotiate on their aggressors’ terms, but at least we get to see them active in that wrestling.

There is a grandiosity here that’s hard to swallow, and a final swell of emotion that isn’t quite earned. For all its skill and cunning, “Knock at the Cabin” is an overwrought quasi-theological melodrama that also manages to be a half-baked thought experiment. It’s a thrill ride in a toy trolley.

Instead of short and fleet, it’s short and fat, trundling along with the solemnity of an elephant bearing a heavy golden basket of pseudo-spirituality... Even by Shyamalan’s usual standard of reminding us that he’s a thinker of deep thoughts as well as an entertainer, the result is cumbersomely preachy.

Shyamalan may have made the politest — and the most provocative — home-invasion horror movie you’ll ever see... “Knock” is satisfyingly atmospheric and tense. It’s also moderately bloody, but the intruders clean up after themselves.

It’s refreshing to see Shyamalan find himself, and at least partially subsume his ego, in someone else’s material. He tells a slim, scaled-down story that feels entirely (maybe even too much) in his B-movie wheelhouse, a story about the horror of the unknown, the power of suggestion and the importance of faith.

Whether Knock at the Cabin loses steam in its second half will vary from viewer to viewer; as with almost everything about this film, there are on-the-one-hand arguments to be laid out for and against how the movie plays up to its endgame. Even if you’re left muttering “Hmm…” you’ve still got a handful of indelible images and performances that range from reliably solid as usual (Groff, Amuka-Bird) to level-up exceptional (notably Kristen Cui, a wonderful child actor, and Bautista — this earns him leading-man status)

[Knock at the Cabin] is [Shyamalan's] best film for quite some time, yet still, very recognisably, one of his... Clever without being over-clever, it’s also earnest and affecting, and surprisingly non-silly as an exercise – like a taut instalment of M Night Shyamalan Presents that finally dredges up his mojo.

You keep waiting for a trademark Shyamalan twist, but Knock at the Cabin is a joylessly literal movie that can’t even milk gallows humor from the uncomfortable placement of KC and the Sunshine Band’s “Boogie Shoes.” ...the movie leaves itself nowhere to go but deeper into biblical doom and gloom, with an unwavering sense of purpose that highlights Shyamalan’s able craftsmanship but also exposes the pointlessness of this claustrophobic exercise.

What would you do if faced with [the couple's] same dilemma? If Shyamalan’s film were the least bit effective, audiences would find themselves mulling that question, ideally even discussing it long after the credits had rolled... Instead, we get this “Killing of a Sacred Deer”-style thought experiment, minus the moral dimension that would’ve made it interesting.

There are no narrative rug pulls in Knock at the Cabin, nor any lingering visceral interest in the violence that gradually escalates throughout. Instead, the film movingly remains focused on what sacrifice demands of people, and the empathy it displays toward all of its characters marks it as one of the few apocalyptic dramas to earn its enduring faith in humanity.