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M. Night Shyamalan had his heyday almost 20 years ago. He leapt out of the gate with such confidence he became a champion instantly. And then...something went awry. He became embarrassingly self-serious, his films drowning in pretension and strained allegories. His famous twists felt like a director attempting to re-create the triumph of " The Sixth Sense ," where the twist of the film was so successfully withheld from audiences that people went back to see the film again and again. But now, here comes " The Visit ," a film so purely entertaining that you almost forget how scary it is. With all its terror, "The Visit" is an extremely funny film. 

There are too many horror cliches to even list ("gotcha" scares, dark basements, frightened children, mysterious sounds at night, no cellphone reception), but the main cliche is that it is a "found footage" film, a style already wrung dry. But Shyamalan injects adrenaline into it, as well as a frank admission that, yes, it is a cliche, and yes, it is absurd that one would keep filming in moments of such terror, but he uses the main strength of found footage: we are trapped by the perspective of the person holding the camera. Withhold visual information, lull the audience into safety, then turn the camera, and OH MY GOD WHAT IS THAT? 

"The Visit" starts quietly, with Mom ( Kathryn Hahn ) talking to the camera about running away from home when she was 19: her parents disapproved of her boyfriend. She had two kids with this man who recently left them all for someone new. Mom has a brave demeanor, and funny, too, referring to her kids as "brats" but with mama-bear affection. Her parents cut ties with her, but now they have reached out  from their snowy isolated farm and want to know their grandchildren. Mom packs the two kids off on a train for a visit.

Shyamalan breaks up the found footage with still shots of snowy ranks of trees, blazing sunsets, sunrise falling on a stack of logs. There are gigantic blood-red chapter markers: "TUESDAY MORNING", etc. These choices launch us into the overblown operatic horror style while commenting on it at the same time. It ratchets up the dread.

Becca ( Olivia DeJonge ) and Tyler ( Ed Oxenbould ) want to make a film about their mother's lost childhood home, a place they know well from all of her stories. Becca has done her homework about film-making, and instructs her younger brother about "frames" and "mise-en-scène." Tyler, an appealing gregarious kid, keeps stealing the camera to film the inside of his mouth and his improvised raps. Becca sternly reminds him to focus. 

The kids are happy to meet their grandparents. They are worried about the effect their grandparents' rejection had on their mother (similar to Cole's worry about his mother's unfinished business with her own parent in "The Sixth Sense"). Becca uses a fairy-tale word to explain what she wants their film to do — it will be an "elixir" to bring home to Mom. 

Nana ( Deanna Dunagan ), at first glance, is a Grandma out of a storybook, with a grey bun, an apron, and muffins coming out of the oven every hour. Pop Pop ( Peter McRobbie ) is a taciturn farmer who reminds the kids constantly that he and Nana are "old." 

But almost immediately, things get crazy. What is Pop Pop doing out in the barn all the time? Why does Nana ask Becca to clean the oven, insisting that she crawl all the way in ? What are those weird sounds at night from outside their bedroom door? They have a couple of Skype calls with Mom, and she reassures them their grandparents are "weird" but they're also old, and old people are sometimes cranky, sometimes paranoid. 

As the weirdness intensifies, Becca and Tyler's film evolves from an origin-story documentary to a mystery-solving investigation. They sneak the camera into the barn, underneath the house, they place it on a cabinet in the living room overnight, hoping to get a glimpse of what happens downstairs after they go to bed. What they see is more than they (and we) bargained for.

Dunagan and McRobbie play their roles with a melodramatic relish, entering into the fairy-tale world of the film. And the kids are great, funny and distinct. Tyler informs his sister that he wants to stop swearing so much, and instead will say the names of female pop singers. The joke is one that never gets old. He falls, and screams, "Sarah McLachlan!" When terrified, he whispers to himself, " Katy Perry ... " Tyler, filming his sister, asks her why she never looks in the mirror. "Your sweater is on backwards." As he grills her, he zooms in on her, keeping her face off-center, blurry grey-trunked trees filling most of the screen. The blur is the mystery around them. Cinematographer Maryse Alberti creates the illusion that the film is being made by kids, but also avoids the nauseating hand-held stuff that dogs the found-footage style.

When the twist comes, and you knew it was coming because Shyamalan is the director, it legitimately shocks. Maybe not as much as "The Sixth Sense" twist, but it is damn close. (The audience I saw it with gasped and some people screamed in terror.) There are references to " Halloween ", "Psycho" (Nana in a rocking chair seen from behind), and, of course, " Paranormal Activity "; the kids have seen a lot of movies, understand the tropes and try to recreate them themselves. 

"The Visit" represents Shyamalan cutting loose, lightening up, reveling in the improvisational behavior of the kids, their jokes, their bickering, their closeness. Horror is very close to comedy. Screams of terror often dissolve into hysterical laughter, and he uses that emotional dovetail, its tension and catharsis, in almost every scene. The film is ridiculous  on so many levels, the story playing out like the most monstrous version of Hansel & Gretel imaginable, and in that context, "ridiculous" is the highest possible praise.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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The Visit (2015)

Rated PG-13 disturbing thematic material including terror, violence and some nudity, and for brief language

Kathryn Hahn as Mother

Ed Oxenbould as Tyler Jamison

Benjamin Kanes as Dad

Peter McRobbie as Pop-Pop

Olivia DeJonge as Rebecca Jamison

Deanna Dunagan as Nana

• M. Night Shyamalan

Cinematography

• Maryse Alberti
• Luke Franco Ciarrocch

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2015, Mystery & thriller/Horror, 1h 34m

What to know

Critics Consensus

The Visit provides horror fans with a satisfying blend of thrills and laughs -- and also signals a welcome return to form for writer-director M. Night Shyamalan. Read critic reviews

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The visit videos, the visit   photos.

Becca (Olivia DeJonge) and younger brother Tyler (Ed Oxenbould) say goodbye to their mother as they board a train and head deep into Pennsylvania farm country to meet their maternal grandparents for the first time. Welcomed by Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), all seems well until the siblings start to notice increasingly strange behavior from the seemingly charming couple. Once the children discover a shocking secret, they begin to wonder if they'll ever make it home.

Rating: PG-13 (Some Nudity|Brief Language|Terror|Thematic Material|Violence)

Genre: Mystery & thriller, Horror

Original Language: English

Director: M. Night Shyamalan

Producer: M. Night Shyamalan , Jason Blum , Marc Bienstock

Writer: M. Night Shyamalan

Release Date (Theaters): Sep 11, 2015  wide

Release Date (Streaming): May 17, 2016

Box Office (Gross USA): $65.1M

Runtime: 1h 34m

Distributor: Universal Pictures

Production Co: Blinding Edge Pictures, Blumhouse

Sound Mix: Dolby Digital

Cast & Crew

Olivia DeJonge

Ed Oxenbould

Deanna Dunagan

Peter McRobbie

Kathryn Hahn

Celia Keenan-Bolger

Samuel Stricklen

Patch Darragh

Jorge Cordova

Steve Annan

Man on the Street

Benjamin Kanes

Ocean James

Young Becca

Seamus Moroney

Young Tyler

M. Night Shyamalan

Screenwriter

Marc Bienstock

Steven Schneider

Executive Producer

Ashwin Rajan

Maryse Alberti

Cinematographer

Luke Franco Ciarrocchi

Film Editing

Naaman Marshall

Production Design

Scott G. Anderson

Art Director

Christine Wick

Set Decoration

Amy Westcott

Costume Design

Douglas Aibel

News & Interviews for The Visit

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Critic Reviews for The Visit

Audience reviews for the visit.

Super creepy. Nice twist at the end.

A disturbing and creepy premise. It'll keep you watching until the very end!

The Visit was a not Shyamalan's greatest work but it worked in its low budget way. The acting was horrendous and the plot was predictable, though the camerawork was at least steady to not make it so shaky.

Risible "return to form" (it's not), featuring two INCREDIBLY irritating performances/characters at the centre. The found footage/documentary style grates and is noticeable only for its complete lack of style, the attempts at comedy are woeful and there is no suspense or shocks. The "twist", supposedly hiding in plain sight, is exactly what one supposes it might be from the first 10 minutes.

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The Visit (2015)

• View history

The Visit is a 2015 American found-footage comedy horror film written, co-produced and directed by M. Night Shyamalan and starring Olivia DeJonge and Ed Oxenbould.

• 5 References
• 6 External links

Rebecca and Tyler prepare for a week-long stay with their grandparents John and Maribella, while their mother Loretta goes on a cruise with her new boyfriend. The two kids, who have never met their grandparents, intend to film a documentary following them along their VISIT. Loretta has not seen her parents for 15 years, after she eloped with her high-school teacher, who has since left her. She tells Rebecca little about her disagreement with her parents, suggesting that she asked for more details. John and Maribella greet Rebecca and Tyler at the train station. Once they are settled in their grandparents' isolated farmhouse, Rebecca and Tyler are instructed to never go into the basement because it contains toxic mold. That night, John tells Rebecca and Tyler that as he and Maribella are elderly, they go to bed at 9:30 p.m. An hour past "curfew" Rebecca goes into the kitchen for a snack and sees Maribella projectile vomiting. Later Rebecca mentions it to John, who dismisses it saying that Maribella has the stomach flu. Over the next few days, Rebecca and Tyler notice their grandparents exhibiting more strange behavior. When Rebecca asks Maribella what happened the day Loretta left home, Maribella begins to shake it off until Rebecca restrains her. John and Maribella are later confronted by a woman who helps them in counseling; she is seen entering the house but never leaving. Tyler, concerned about the occurrences, decides to secretly film what happens at night. Maribella discovers the hidden camera, retrieves a large knife, and unsuccessfully tries to break into the children's bedroom. When Rebecca and Tyler view the camera footage, they contact their mothers. When shown images of John and Maribella, Loretta panics and says those are not her parents. Rebecca and Tyler attempt to leave the house, but the imposters trap them and force them to "make it the perfect family night" and play yatzee. Rebecca excuses herself and escapes to the basement. There she finds the corpses of the real John and Maribella, along with uniforms from the mental hospital where they worked, concluding that the imposters are probably escaped patients. The fake John grabs Rebecca and imprisons her in a bedroom with fake Maribella, who then tries to eat her. Rebecca stabs fake Maribella with a glass shard, then flees. Rebecca tries to save Tyler, but fake John grabs her. Tyler tackles fake John to the floor, then slams his head in the fridge door until he dies. The two escape outside where they are met by Loretta and police. In the aftermath, Rebecca asks Loretta about what happened the day she left home. Loretta states she had a physical fight with her parents and never VISITED them after that. However, John and Maribella had tried to contact her afterwards, and Loretta concludes that reincolliation was always possible. She tells Rebecca not to hold anger after Robert and hugs her.

• Olivia DeJonge as Becca
• Ed Oxenbould as Tyler
• Deanna Dunagan as Marja Bella Jamison (Claire), also known as "Nana"
• Peter McRobbie as Frederick Spencer Jamison (Mitchell), also known as "Pop Pop"
• Kathryn Hahn as Loretta Jamison, Becca and Tyler's mother
• Patch Darragh as Dr. Sam
• Celia Keenan-Bolger as Stacey

File:The Visit-Teaser One Sheet.jpg

References [ ]

External links [ ].

• 1 Winnie-the-Pooh: Blood and Honey 2 (2024)
• 2 The Farm (2018)
• 3 Winnie the Pooh: Blood and Honey

The Ending Of The Visit Explained

Contains spoilers for  The Visit

M. Night Shyamalan is notorious for using dramatic twists towards the endings of his films, some of which are pulled off perfectly and add an extra layer of depth to a sprawling story (hello, Split ). Some of the director's other offerings simply keep the audience on their toes rather than having any extra subtext or hidden meaning. Shyamalan's 2015 found-footage horror-comedy  The Visit , which he wrote and directed, definitely fits in the latter category, aiming for style over substance.

The Visit follows 15-year-old Becca Jamison (Olivia DeJonge) and her 13-year-old brother Tyler (Ed Oxenbould) when they spend the week with their mother's estranged parents, who live in another town. Loretta (played by WandaVision 's Kathryn Hahn ) never explained to her children why she separated herself away from her parents, but clearly hopes the weekend could help bring the family back together.

Although The Visit occasionally toys with themes of abandonment and fear of the unknown, it wasn't particularly well-received by critics on its initial release, as many struggled with its bizarre comedic tone in the found-footage style. So, after Tyler and his camera record a number of disturbing occurrences like Nana (Deanna Dunagan) projectile-vomiting in the middle of the night and discovering "Pop Pop"'s (Peter McRobbie) mountain of used diapers, it soon becomes clear that something isn't right with the grandparents.

Here's the ending of  The Visit  explained.

The Visit's twist plays on expectations

Because Shyamalan sets up the idea of the separation between Loretta and her parents very early on — and doesn't show their faces before Becca and Tyler meet them — the film automatically creates a false sense of security. Even more so since the found-footage style restricts the use of typical exposition methods like flashbacks or other scenes which would indicate that Nana and Pop Pop aren't who they say they are. Audiences have no reason to expect that they're actually two escapees from a local psychiatric facility.

The pieces all come together once Becca discovers her  real grandparents' corpses in the basement, along with some uniforms from the psychiatric hospital. It confirms "Nana" and "Pop-Pop" escaped from the institution and murdered the Jamisons because they were a similar age, making it easy to hide their whereabouts from the authorities. And they would've gotten away with it too, if it weren't for those meddling kids.)

However, after a video call from Loretta reveals that the pair aren't her parents, the children are forced to keep up appearances — but the unhinged duo start to taunt the siblings. Tyler in particular is forced to face his fear of germs as "Pop Pop" wipes dirty diapers in his face. The germophobia is something Shyamalan threads through Tyler's character throughout The Visit,  and the encounter with "Pop Pop" is a basic attempt of showing he's gone through some kind of trial-by-fire to get over his fears.

But the Jamison kids don't take things lying down: They fight back in vicious fashion — a subversion of yet another expectation that young teens might would wait for adults or law enforcement officers to arrive before doing away with their tormentors.

Its real message is about reconciliation

By the time Becca stabs "Nana" to death and Tyler has repeatedly slammed "Pop-Pop"'s head with the refrigerator door, their mother and the police do arrive to pick up the pieces. In a last-ditch attempt at adding an emotional undertone, Shyamalan reveals Loretta left home after a huge argument with her parents. She hit her mother, and her father hit her in return. But Loretta explains that reconciliation was always on the table if she had stopped being so stubborn and just reached out. One could take a domino-effect perspective and even say that Loretta's stubbornness about not reconnecting and her sustained distance from her parents put them in exactly the vulnerable position they needed to be for "Nana" and "Pop-Pop" to murder them. 

Loretta's confession actually mirrors something "Pop-Pop" told Tyler (before his run-in with the refrigerator door): that he and "Nana" wanted to spend one week as a normal family before dying. They should've thought about that before murdering a pair of innocent grandparents, but here we are. 

So, is The Visit  trying to say that if we don't keep our families together, they'll be replaced by imposters and terrify our children? Well, probably not. The Visit tries to deliver a message about breaking away from old habits, working through your fears, and stop being so stubborn over arguments that don't have any consequences in the long-run. Whether it actually sticks the landing on all of those points is still up for debate.

Film Review: ‘The Visit’

M. Night Shyamalan returns to thriller filmmaking in the style of low-budget impresario Jason Blum with mixed results.

By Geoff Berkshire

Geoff Berkshire

Associate Editor, Features

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After delivering back-to-back creative and commercial duds in the sci-fi action genre, M. Night Shyamalan retreats to familiar thriller territory with “ The Visit .” As far as happy homecomings go, it beats the one awaiting his characters, though not by much. The story of two teens spending a week with the creepy grandparents they’ve never met unfolds in a mockumentary style that’s new for the filmmaker and old hat for horror auds. Heavier on comic relief (most of it intentional) than genuine scares, this low-budget oddity could score decent opening weekend B.O. and ultimately find a cult following thanks to its freakier twists and turns, but hardly represents a return to form for its one-time Oscar-nominated auteur.

In a way, it’s a relief to see Shyamalan set aside the studio-system excesses of “The Last Airbender” and “After Earth” and get down and dirty with a found-footage-style indie crafted in the spirit of producer Jason Blum’s single location chillers. (Blum actually joined the project after filming wrapped, but it subscribes to his patented “Paranormal Activity” playbook to a T.) Except that the frustrating result winds up on the less haunting end of Shyamalan’s filmography, far south of “The Sixth Sense,” “Signs” and “The Village,” and not even as unsettling as the most effective moments in the hokey “The Happening.”

That’s not to say “The Visit” is necessarily worse than some of those efforts, just a different kind of animal. The simplicity of the premise initially works in the pic’s favor as 15-year-old aspiring documentarian Becca (Olivia DeJonge) and her 13-year-old aspiring-rap-star sibling Tyler (Ed Oxenbould of “Alexander and the Terrible, Horrible, No Good, Very Bad Day”) say goodbye to their hard-working single mom (Kathryn Hahn, better than the fleeting role deserves), who ships off on a weeklong cruise with her latest boyfriend. The kids travel by train to rural Pennsylvania to meet Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie), the purportedly kindly parents Mom left behind when she took off with her high-school English teacher and caused a permanent rift in the family.

Becca plans to turn the whole experience into an Oscar-caliber documentary (proving she sets her sights higher than Shyamalan these days) and also an opportunity to exorcise the personal demons both she and Tyler carry around in the wake of their parents’ separation. Unfortunately for the kids, their grandparents appear to be possessed by demons of another kind — although it takes an awfully long time for them to grow legitimately concerned about Nana’s nasty habit of roaming the house at night, vomiting on the floor and scratching at the walls in the nude, and Pop Pop’s almost-as-bizarre behavior, including stuffing a woodshed full of soiled adult diapers, attacking a stranger on the street and regularly dressing in formal wear for a “costume party” that never materializes.

Ominous warnings to not go into the basement (because of “mold,” you see) and stay in their room after 9:30 (Nana’s “bedtime”) fly right over the heads of our otherwise pop-culture-savvy protagonists. Becca even stubbornly refuses to use her omnipresent camera for nighttime reconnaissance, citing concerns over exploitation and “cinematic standards” — one of the lamest excuses yet to justify dumb decisions in a horror narrative — until the weeklong stay is almost up.

Shyamalan has long been criticized for serving up borderline (or downright) silly premises with a straight face and overtly pretentious atmosphere, but he basically abandons that approach here in favor of a looser, more playful dynamic between his fresh-faced leads. At the same time, there’s a surreal campiness to the grandparents’ seemingly inexplicable behavior, fully embraced by Tony winner Dunagan and Scottish character actor McRobbie, that encourages laughter between ho-hum jump scares. Their antics only reach full-blown menacing in the perverse-by-PG-13-standards third act. (The obligatory reveal of what’s really going on works OK, as long as you don’t question it any more than anyone onscreen ever does.)

Even if there’s less chance the audience will burst out in fits of inappropriate chuckles, as was often the case in, say, “The Happening” or “Lady in the Water,” Shyamalan still can’t quite pull off the delicate tonal balance he’s after. Once events ultimately do turn violent — and Nana does more than just scamper around the floor or pop up directly in front of the camera — the setpieces are never as scary or suspenseful as they should be. Even worse are the film’s attempts at character-driven drama, including a couple of awkward soul-baring monologues from the otherwise poised young stars, and a ludicrous epilogue that presumes auds will have somehow formed an emotional bond with characters who actually remain skin-deep throughout. One longs to see what a nervier filmmaker could have done with the concept (and a R rating).

The technical package is deliberately less slick than the Shyamalan norm, although scripting Becca as a budding filmmaker interested in mise en scene provides d.p. Maryse Alberti (whose numerous doc credits include multiple Alex Gibney features) an excuse to capture images with a bit more craft than the average found footage thriller. Shyamalan purposefully decided to forego an original score, but the soundtrack is rarely silent between the chattering of the children, a selection of source music and the eerie sound editing that emphasizes every creaking door and loud crash substituting for well-earned frights.

Reviewed at Arclight Cinemas, Hollywood, Sept. 8, 2015. MPAA Rating: PG-13. Running time: 94 MIN.

• Production: A Universal release of a Blinding Edge Pictures and Blumhouse production. Produced by Jason Blum, Marc Bienstock, M. Night Shyamalan. Executive producers, Steven Schneider, Ashwin Rajan.
• Crew: Directed, written by M. Night Shyamalan. Camera (color, HD), Maryse Alberti; editor, Luke Ciarrocchi; music supervisor, Susan Jacobs; production designer, Naaman Marshall; art director, Scott Anderson; set decorator, Christine Wick; costume designer, Amy Westcott; sound (Dolby Digital), David J. Schwartz; supervising sound editor/re-recording mixer, Skip Lievsay; visual effects supervisor, Ruben Rodas; visual effects, Dive VFX; stunt coordinator, Manny Siverio; casting, Douglas Aibel.
• With: Olivia DeJonge, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Kathryn Hahn, Celia Keenan-Bolger.

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VIDEO: 'The Visit' and 13 Other Movies Starring Scary Old Ladies

Not every grandmotherly type bakes cookies – especially when it comes to scary movies

Not every grandmotherly type bakes cookies.

Scary movies often twist the familiar and benign into the weird and menacing, and what’s more frightening than finding out that the kindly old lady is anything but? The most recent movie to play into the “grannies gone bad” trope is The Visit , a surprise hit that’s spent the past month in the box office Top 10 and which features stage actress Deanna Dunagan as a grandmother who is just not quite right. (Thanks to her performance, Yahtzee will never be the same.)

And with a tip of the hat to Dunagan’s delightfully unhinged performance in The Visit , we’re listing off cinema’s scariest “women of a certain age.”

(Heads up: Some of the below clips may be NSFW. Horror movies, y’all.)

1. Mrs. Voorhees in Friday the 13th (1980)

Actress Besty Palmer famously hated the film (and reportedly only took the role because she needed to buy a new car), but nonetheless became a horror legend for playing Pamela Voorhees, who bumped off Kevin Bacon and the rest of the camp counselors in the original Friday the 13th before her son took over the family business in the sequels. Only 56 when the film hit theaters, Palmer nonetheless embodies a key “scary senior lady” trait: a veneer of kindliness that melts away into pure evil.

2. Grandma Lois in Paranormal Activity 3 (2011)

Spoiler alert: If you haven’t started with this series yet – and you’d better get going, as there are already six of them – but all the badness happens as a result of Lois (Hallie Foote), grandmother to Katie and Kristi, the female protagonists in the first two movies, respectively. She’s made some sort of pact with the series’ demonic villain that makes life literal hell for everyone else in her family.

3. Norma Bates in Psycho (1960)

She’s possibly the most famous old lady in horror movies, despite the fact that she only exists in corpse form. However, this possessive, abusive woman lives on in the mind of her demented son, Norman Bates (Anthony Perkins). Psycho 2 features two more biddies to watch out for: Vera Miles (star of the first film, reprising her role as the sister of Janet Leigh’s character), who plots against Norman upon his release from the asylum and Mrs. Spool (Claudia Bryar), who reveals herself to be Norman’s biological mother and who promptly becomes the new corpse being kept in the fruit cellar.

4. Minnie Castevet in Rosemary’s Baby (1968)

One reason not to knock horror as a genre: Ruth Gordon scored an Oscar nomination for her role as Minnie, the neighbor whose nosiness into the personal life of Rosemary Woodhouse ( Mia Farrow ) turns out to be a lot more than grandmotherly concern. She’s actually the second-in-command in a cult that wants Rosemary to bear the son of Satan himself, and she’s flanked by a whole apartment building full of the evil elderly.

Celebs Reveal: My Favorite Scary Movie!

5. olivia foxwoth in flowers in the attic (1987).

Played by Louise Fletcher in the 1987 adaptation and Ellen Burstyn in the remake, this grandma is the absolute worst: cruel and abusive and quite likely driven mad by the fact that her grandchildren are the result of an incestuous union. Yes, the Dollanganger family has some major issues, but in either film, Grandma isn’t helping. No, it’s not a horror movie in the traditional sense, but Flowers in the Attic is nonetheless a showcase for the evil humans can unleash on each other.

6. Baby Jane Hudson in What Ever Happened to Baby Jane? (1962)

A campy thriller that became a classic largely thanks to the fact that its stars, Bette Davis and Joan Crawford, allegedly loathed each other in real life , What Ever Happened to Baby Jane? tells the story about how hatred between two sisters can lead to madness when stretched out across decades. As the loonier of the two, Davis delivers a performance that elicits both fear and pity, and the film was so successful that it launched an entire thriller subgenre about old women doing awful things to each other: hagsploitation. Lynn and Vanessa Redgrave played the roles in a 1991 remake in which the former plays Baby Jane as even further over the edge.

7. The entire female cast of Hush Hush, Sweet Charlotte (1964)

Initially intended as a reunion vehicle for Davis and Crawford, this film doubles down on the number of crazed old ladies, with Davis, Olivia de Havilland (replacing Crawford), Agnes Moorehead and Mary Astor playing four elderly women scheming to undo each other in a crumbling New Orleans mansion.

8. Helen Hill in What’s the Matter with Helen? (1971)

Another brilliantly titled entry in the hagsploitation genre, this one has Shelley Winters playing the title character – a repressed lesbian religious zealot who slides further and further into madness while she’s trying to coach an acting school for Shirley Temple wannabes. Yes, there’s a lot going on in this one. Co-star Debbie Reynolds has some great scenes too, and it’s fascinating to watch two acclaimed actresses get enveloped by macabre mayhem.

9. Martha in Hush (1998)

Critically maligned upon its release, this thriller might be of interest today to American Horror Story fans interested in Jessica Lange’s earlier genre work. Hush has Lange playing the world’s worst mother-in-law opposite Gwyneth Paltrow . Lange camps it up as the villain, and why yes, in fact, there is a climactic slapping scene.

10. Helena Markos in Suspiria (1977)

Quite possibly the scariest of the old ladies on this list, Helena Markos (Lela Svasta) is an evil witch residing in a German ballet school that’s a front for a coven. She’s unseen for most of the film, but her dark influence causes all manner of horror for American dancer Suzy (Jessica Harper), who ultimately has to faceoff with Markos in her neon-glam boudoir.

11. Sylvia Ganush in Drag Me to Hell (2009)

The only horror movie that’s also an indictment of the banking industry, Drag Me to Hell features Alison Lohman as an assistant bank manager who makes the mistake of rejecting Mrs. Ganush (Lorna Raver) for a loan. Loman’s character must consequently deal with a curse Ganush places on her for her insolence. It doesn’t end well. The moral? Be nicer to old ladies.

12. The grandmother in Grandma’s House (1988)

The Visit wasn’t the first film to squeeze horror out of the dread of an extended stay with Grandma. This low-budge thriller has a similar set-up, and the trailer tease says it all: “David and Lynn have been sent to live at Grandma’s House. They may as well have been sent straight to hell.” Another? “Grandma’s house: She’ll spoil you to death.”

13. Gladys in Legion (2010)

She’s not in the film very long, but in her brief appearance in the humans-versus-demons flick Legion , Jeanette Miller’s character exemplifies the “scary granny” character: sweet as fresh-baked cookies one moment, terrifying the next. (Miller, BTW, also played Aunt Edie on The Middle . Think of this scene the next time you catch her in a rerun.)

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THE VISIT OF THE OLD LADY

Poseta stare dame.

As a young woman, Klara left her hometown in disgrace. Now she is old and unimaginably rich, as for the first time she returns. The town is nearly bankrupt and in urgent need of money. Everybody hopes Clara will come to the rescue, however somebody must kill the man who was her lover long ago.

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The Visit review – ill-judged shenanigans from M Night Shyamalan

There’s horror and comedy in this messy, shaky-cam nadir, but not the kind Shyamalan was aiming for

T here’s a terrible sense of dread lurking in M Night Shyamalan’s latest. Sadly, it has nothing to do with the boring shaky-cam story about two incandescently irritating teenagers spending some Grimm-lite time with their unhinged grandparents. Instead, it’s the horrible realisation that the film-maker who was lauded for The Sixth Sense , defended for The Village , and just about tolerated for The Happening , may actually have made a movie worse than Lady in the Water . Is it meant to be a horror film? Or a comedy? The publicity calls it “an original thriller” but it is neither of those things. Only “endurance test” adequately describes the ill-judged shenanigans that ensue, as our two young heroes film their estranged Nana and Pop-Pops scratching at the walls, puking on the floor, and mysteriously stockpiling soiled nappies in the woodshed. Can you spot the inevitable plot twist that lurks noisily in the corner? Can you listen to any more of little Ed Oxenbould’s cute comedy rapping without stabbing yourself in the ear? Can you get a refund? Bring back The Last Airbender !

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A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

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The Visit , by Swiss author and playwright Friedrich Dürrenmatt, premiered in 1956 at the Schauspielhaus Zürich under the German title Der Besuch der alten Dame , or The Visit of the Old Lady . Dürrenmatt’s darkly comic satiric plays are credited with helping revitalize German theatre following World War II. His writing also reveals the influence of German playwright Bertolt Brecht, notably in Dürrenmatt’s use of parables: simple stories using human characters to illustrate a lesson or moral. One of the themes Dürrenmatt explores in The Visit is the corrupting power of money.  

The play, a tragicomedy in three acts, is Dürrenmatt’s most well-known and enduring work as a dramatist. The hugely successful 1958 Broadway debut starred the famous acting married couple Alfred Lunt and Lynn Fontanne and was staged by famous English director Peter Brooks. The play has been widely adapted, as a 1964 Hollywood film, a 1971 German opera, a 1992 Senegalese film Hyenas , a 2001 musical by John Kander and Fred Ebb, and a 2020 version by American playwright Tony Kushner that ran in London.

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This guide references the translation by Patrick Bowles published by Grove Press in 1990.

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The fictional small town of Guellen , located vaguely in central Europe, has fallen into poverty since the end of World War II. But fortunately for its inhabitants, famous multimillionaire Claire Zachanassian grew up in Guellen and is returning for a visit after 45 years. In hopes that Claire will share her wealth to save the town, the Mayor has planned a grand welcome. Alfred Ill , who is the most well-liked man in town and slated to become the next mayor, happens to be Claire’s long-ago lover. He is also the only person in town who knows and remembers her at all, and his help is enlisted to sweet-talk Claire into giving the town money. Claire upsets their preparations by arriving early, her seventh husband and a strange entourage in tow. She also brings, along with mountains of luggage, a coffin. Claire goes with Ill to some of the places where they trysted. She confronts Ill for ending their relationship to marry Matilda Blumhard, whose family had money and owned the town General Store. Because of Ill’s actions, Claire left Guellen and ended up working in a brothel until her first husband, a billionaire, married her. Ill claims that he did it to save Claire from staying in Guellen. Claire tells Ill that she will give the town money, and Ill excitedly accompanies her into town for a reception in her honor. After the Mayor gives an erroneous speech about her, Claire announces that she will donate a million pounds to Guellen, half of which will go to the town and the other half to be divided among the townspeople. But she has a condition, which they quiet their cheering to hear.

Claire’s butler comes forward, introducing himself as Guellen’s one-time Lord Chief Justice. Once, he arbitrated a paternity case. Claire, who was 17, was pregnant and named Ill, who was 20, as the father. But Ill paid two men to claim that they slept with her. Claire left Guellen in disgrace. The baby was taken away and died after a year. To survive, Claire was forced into sex work. She has had the two men who lied blinded and castrated, now a part of her entourage, and she wants to buy justice against Ill. She’ll give the money in exchange for someone killing Ill. The Mayor immediately rejects the offer as inhuman, but Claire says that she will wait.

Act II begins in Ill’s store, where townspeople are buying things on store credit. Although they all tell Ill that they stand with him, Ill suddenly realizes that everyone is spending extravagantly on credit, because they know that someone will follow through to get Claire’s money. Recognizing that he is being threatened, Ill goes to the Policeman , the Mayor, and then the Priest , begging each of them to help him. But they all demonstrate that they are spending money too. Terrified, Ill goes to the train station, followed by the entire town. Afraid that someone will grab him, Ill misses the train and collapses in panic. The townspeople walk away, leaving him there. In Act III, the Doctor and the Schoolmaster go to see Claire, who has just married and divorced another husband, to ask if she will invest in the town instead of giving a gift. But Claire reveals that she already owns everything in the town. She shut down the factories to create the rampant poverty.

At Ill’s store, his wife is helping customers who are still upgrading their purchases and buying on credit. Some men from town come in and decide to sit and make sure that Ill doesn’t decide to talk to the press that came to town for Claire’s wedding. The Schoolmaster, who has started drinking, nearly speaks up when reporters come into the store, but Ill, who has been hiding upstairs, stops him. After the reporters and townspeople leave, Ill comments that his family has also been buying on credit, including his son’s new car. He surprises his family by telling them to dress up to go for a drive. The Mayor comes in and tells Ill that there will be a town meeting and a vote about accepting Claire’s offer. He tries to give Ill a gun to save the town the trouble by killing himself, but Ill refuses, although he agrees to abide by the results of the vote. His family returns, and after a pleasant ride, Ill says goodbye and goes to the woods where Claire is supposed to be walking with her new husband. Ill and Claire talk about the end of their relationship and their daughter who died. Claire promises to take Ill in the coffin to a mausoleum in Capri, so he will be near her forever. Ill goes to the town meeting. The press is present, so the Mayor and Schoolmaster speak vaguely, but they finally hold a vote. Only Ill votes against taking the money. After the press leaves, the men of the town strangle Ill. The Mayor tells an errant reporter that Ill died of a heart attack from happiness. Claire gives the Mayor the check and has Ill’s body carried out and placed in the coffin. As Claire and her luggage, along with the coffin, head to the train station, the townspeople sing her praises and pray for their own good fortune.

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Teen squatters arrested after woman found dead in duffel bag in New York City apartment

Two teenagers were arrested after a woman was discovered dead in a duffel bag in a New York City apartment last week.

The woman was identified as 52-year-old Nadia Vitel. Earlier this month, she went to check on her late mother’s Manhattan apartment, which had been empty for months, according to two senior law enforcement sources.

The teenagers, identified as 19-year-old Halley Tejada and a 16-year-old, were unlawfully occupying the apartment. NBC News does not usually identify minors accused of crimes.

Vitel’s body was found on March 14 after a wellness check at the Kips Bay apartment, police said. Her cause of death was blunt force trauma of the head, according to the New York City Chief Medical Examiner’s Office.

Investigators found surveillance footage showing Vitel’s movements around the apartment building on March 10 and the teenagers entering the building shortly after. Investigators also found items belonging to Vitel in the building’s garbage receptacle area.

Tejada and the 16-year-old are seen leaving the building on March 12, when they allegedly stole Vitel’s car. They drove to New Jersey and eventually crashed in Lower Paxton Township, Pennsylvania, according to the law enforcement sources.

The crash led to the arrest of the teenagers by the U.S. Marshals Regional Fugitive Task Force in York, Pennsylvania, per the law enforcement sources.

It’s not clear if the teenagers have attorneys or what they have been charged with.

Breaking news reporter

 Myles Miller is a reporter for NBC New York.

The 10 Best Dogs in Disney Movies, Ranked

D ogs have played an integral role in Disney movies , capturing the hearts of audiences with their endearing qualities and unwavering loyalty. From iconic characters like Pluto, Mickey Mouse's faithful companion, to the adventurous and loving duo of Lady and Tramp, Disney dogs have become cherished symbols of companionship and friendship. These lovable canines exhibit a range of traits that make them truly wonderful. They teach us about the power of unconditional love, the importance of friendship, and the joy of living in the moment.

Disney dogs often embody relatable and human-like characteristics, making them relatable to viewers of all ages. They exhibit bravery, intelligence, and a sense of adventure, captivating audiences with their unique personalities. Whether it's the mischievous antics of Dug from Up or the courageous acts of Pongo and Perdita in 101 Dalmatians , Disney dogs remind us of the incredible bond between humans and animals. They inspire us to be more compassionate, kind, and understanding, while bringing laughter and joy to our lives through their heartwarming stories. With their wagging tails and adorable antics, Disney dogs have undoubtedly left a huge paw print on the world of cinema and in the hearts of fans worldwide.

Buddy - Air Bud

Buddy, the beloved Golden Retriever from the Air Bud films, has captured the hearts of audiences with his incredible talent and spirit. Buddy is an exceptional dog that has the ability to bring people together through the power of sports. From basketball to soccer and even football, Buddy showcases his impressive skills, proving that with determination and a little teamwork, anything is possible.

Beyond his athletic prowess, Buddy's kind and gentle nature shine through, making him a great dog both on and off the field. He forms deep bonds with the human characters in the films, offering comfort, companionship, and a source of inspiration. He not only brings joy and entertainment, but also teaches valuable life lessons about perseverance, friendship, and the importance of following your dreams. Buddy's playful spirit and heartwarming presence remind us of the profound impact that a furry friend can have in our lives.

Bolt - Bolt (2008)

Bolt, the heroic white German Shepherd from the film Bolt , captivates audiences with his unwavering courage, undying loyalty, and heartwarming journey of self-discovery. Raised to believe he possesses incredible superpowers, Bolt's determination to protect his human, Penny, fuels his thrilling adventures. As the film progresses, Bolt learns that his powers were merely a part of a fictional TV show, but this doesn't diminish his determination to become the hero Penny believes him to be. His love for Penny drives him to overcome numerous challenges and inspire those around him.

Bolt's relatable qualities make him a great dog. Transforming from a sheltered and naive superstar to a humble and compassionate companion is both touching and inspiring. Throughout the film, Bolt learns the true meaning of friendship and the power of love. He forms a deep bond with a street-smart cat named Mittens and an energetic hamster named Rhino, proving that family isn't limited to blood relations.

Bolt's journey teaches us about the importance of staying true to ourselves and finding strength in the genuine connections we forge. With his energy and devotion, Bolt has undoubtedly earned his place as one of the most beloved and remarkable dogs in Disney's repertoire.

Old Yeller - Old Yeller

Old Yeller, the courageous and faithful dog from the classic film Old Yeller , is an iconic symbol of loyalty, bravery, and the true spirit of a hero. Set in the Old West, Old Yeller's tale unfolds as he becomes an important part of the Coates family. From protecting his human companions from dangerous situations to herding livestock on the farm, Old Yeller quickly becomes part of the family.

His story teaches us about the bond between humans and animals, and how a dog's love can transcend words, reminding us of the impact that our furry friends can have on our lives. With his bravery, resilience, and loyalty, Old Yeller remains an unforgettable and cherished character, etching his place as one of Disney's greatest canine heroes.

Dug from Up

Dug, the lovable and hilarious golden retriever from the film Up , instantly captures the hearts of viewers with his personality and enthusiasm. Equipped with a special collar that allows him to speak, Dug's innocent and joyful nature brings a unique charm to the story. Dug's loyalty to his newfound friends, Carl and Russell, is truly heartwarming, as he quickly becomes an integral part of their adventure.

Dug's hilarious and often random comments, filled with childlike wonder, add a lighthearted and comical touch to the film. Despite his easily distracted nature, Dug's loyalty shines through. His journey reminds us of the simple joys in life and the importance of companionship, while his optimism and pure-heartedness teach us valuable lessons about embracing the moment and finding happiness in the smallest of things. With his infectious enthusiasm and heart of gold, Dug has become an iconic and beloved Disney dog, leaving a lasting impression on audiences of all ages.

Related: New Short Film in Dug Days Series Has Carl Going on a Date

Dodger - Oliver and Company (1988)

Dodger, the charismatic and street-smart Terrier mix from the film Oliver & Company , is a memorable and lovable character who steals the hearts of both his fellow gang of dogs and the audience. With his charming personality and smooth-talking demeanor, Dodger navigates the bustling streets of New York City. He leads his pack of misfits with a combination of street smarts and a heart of gold, always looking out for their well-being.

Despite his initial reluctance to let Oliver join their pack, Dodger quickly begins teaching Oliver the ropes of survival in the city. His charismatic presence brings a sense of adventure and excitement to the film, while his deep sense of camaraderie highlights the importance of friendship and family, even among the unlikeliest of companions. With his quick wit, street-wise skills, and a heart full of compassion, Dodger has become an enduring fan favorite.

Chance and Shadow - Homeward Bound (1993)

Chance and Shadow, the lovable duo from the film Homeward Bound: The Incredible Journey , show the loyalty and friendship that exists between dogs and humans. Chance, the exuberant and adventurous American Bulldog, and Shadow, the wise and gentle Golden Retriever, embark on an extraordinary journey to find their beloved owners. Their contrasting personalities complement each other perfectly, resulting in a heartwarming and memorable dynamic.

Chance brings an infectious energy and playful spirit to the story, always ready for an adventure and willing to take risks. His determination and resilience in the face of challenges showcase his devotion to his family. On the other hand, Shadow's calm and composed demeanor, combined with his wisdom and sense of responsibility, make him the guiding light for the group.

Together, Chance and Shadow show the powerful bond between dogs and their human counterparts, proving that love and friendship know no bounds. Their incredible journey reminds us of the impact that our furry friends can have on our lives and the extraordinary lengths they are willing to go to protect and reunite with their loved ones.

Lady - Lady and the Tramp (1955)

Lady, the elegant and endearing Cocker Spaniel from the film Lady and the Tramp , captures the hearts of audiences with her grace, innocence, and loyalty. From her sheltered life as a pampered house dog to her unexpected adventures with Tramp, her journey teaches us about love, acceptance, and stepping out of one's comfort zone. Lady's kind and gentle nature shines through as she navigates the challenges of the outside world, ultimately learning the value of true friendship and embracing the joys of a simpler, more carefree existence.

Lady is always placing the well-being of her loved ones above her own. Her growth throughout the film, from a sheltered and naive pup to a brave and confident dog, is inspiring. Her love for Tramp and her determination to protect her family showcases what dogs are known for. Lady's story serves as a beautiful reminder of the deep emotional connections that can be formed between humans and their furry friends, leaving a lasting impression on viewers of all ages.

Related: The Best Disney Movies for Toddlers

Hooch - Turner and Hooch (1989)

Hooch, the lovable and slobbery French Mastiff from the film Turner & Hooch , is a true scene-stealer with his larger-than-life personality and charm. Hooch's initially gruff and unpolished demeanor contrasts with his deep sense of loyalty and affection for his human partner, Scott Turner. Even through his messy and often destructive tendencies, Hooch proves to be a loyal and steadfast companion, forming an unbreakable bond with Scott as they work together to solve a crime.

Despite his intimidating size, Hooch's heart is filled with love and a desire to protect those he cares about. His slobbery kisses and goofy antics add a touch of comedy and warmth to the film. Hooch's journey reminds us of the power of love and the impact that a dog can have on our lives. Through his loyalty, bravery, and lovable quirks, Hooch shows the enduring bond between humans and their canine companions, leaving a mark on the hearts of viewers.

Nana - Peter Pan (1953)

Nana, the beloved St. Bernard from the classic Disney film Peter Pan , is much more than just a pet. As the trusted nursemaid to the Darling children, Nana shows the qualities of love, protection, and unwavering dedication. With her gentle demeanor and nurturing instincts, Nana ensures the safety and well-being of Wendy, John, and Michael, becoming an important part of their adventures in Neverland.

Nana is a wonderful dog that has some very mother-like qualities. She is always watching over the Darling children and providing comfort in times of need. Nana's presence brings a sense of stability and warmth to the story, reminding us of the important role that pets can play in our lives. Her love for the Darling family shows the unbreakable bond that can form between humans and animals. Nana serves as a heartwarming reminder that love knows no boundaries and that even in the most magical of stories, the love and protection of a faithful companion like Nana can provide a sense of security and belonging.

Pluto, Mickey's Best Pal

Pluto, the lovable and iconic character from Disney, holds a special place as Mickey Mouse's loyal and trusted best friend. With his endearing charm and playful nature, Pluto has become a beloved and enduring character in the Disney universe. Despite being a dog of few words, Pluto's expressive face and animated movements convey a range of emotions, making him relatable and adored by audiences of all ages.

What makes Pluto a great dog is his friendship with Mickey. Whether they're headed on crazy adventures together or simply enjoying each other's company, their bond shows the deep connection that can exist between a human and their pet. Pluto's loyalty, trust, and willingness to go to great lengths for Mickey's happiness highlight the pure and unconditional love that dogs bring into our lives. Through his antics and interactions with other characters in the Disney universe, Pluto reminds us of the joy, companionship, and laughter that a faithful four-legged friend can bring, cementing his status as an iconic and cherished Disney dog.

• Cast & crew

Janet Planet

In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visito... Read all In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visitors enter their orbit, all captivated by Janet. In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visitors enter their orbit, all captivated by Janet.

• Annie Baker
• Zoe Ziegler
• Luke Philip Bosco
• June Walker Grossman
• 11 Critic reviews
• 84 Metascore
• 1 nomination

• Male Counselor
• (as Luke Bosco)

• Performer 1
• Performer 2
• See all cast & crew
• Production, box office & more at IMDbPro

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• June 21, 2024 (United States)
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