bande annonce film the visit

Bande-annonce : The Visit - VF

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Bande-annonce de The Visit de M. Night Shyamalan avec Olivia DeJonge, Ed Oxenbould, Deanna DUNAGAN!Plus de vidéos du film : http://www.premiere.fr/film/The-Visit-3971250La semaine de terreur de Becca et de son frère Tyler en vacances dans la ferme de leurs grands-parents au fin fond de la Pennsylvanie.Abandonnés par leur père, les deux enfants vivent seuls avec leur mère. Becca, une adolescente intelligente et sensible, décide de faire un film amateur de leur voyage chez leurs grands-parents qu’ils n’ont encore jamais rencontrés. Avec son frère, un rappeur en herbe qui canalise ses angoisses à travers la musique, tous deux prennent congé de leur mère à la gare pour prendre le train qui va les mener en Pennsylvanie vers un territoire inconnu : celui de l’amour inconditionnel de leurs grands-parents. C’est enfin l’occasion pour eux de se faire gâter, chérir et de se sentir comme n’importe quel autre enfant...ainsi que de découvrir pourquoi leur mère les a tenus si longtemps éloignés de ses propres parents.En découvrant que le vieux couple se livre à la nuit tombée à des activités plus que suspectes, les deux jeunes gens voient avec effroi leurs chances de rentrer chez leur mère s’amenuiser de jour en jour.

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Bande-annonce : The Visit

• 42 Commenter
• Enregistrer

• Cinéma Film d'horreur
• Durée : 1h30min
• Réalisateur : M. Night Shyamalan
• Sortie : 2015
• Pays : États-Unis

Résumé The Visit

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• Netflix Regarder sur Netflix Allez sur la plateforme de Netflix
• Prime video Regarder sur Prime video Allez sur la plateforme de Prime video
• Olivia DeJonge Rebecca
• Ed Oxenbould Tyler
• Deanna Dunagan la grand-mère
• Peter McRobbie le grand-père

• Celia Keenan-Bolger Stacey
• Samuel Stricklen le conducteur
• Patch Darragh le docteur Sam

Voir tout le casting

L'avis de Télé-Loisirs

Tout en caméra porté, ce film d'épouvante efficace et maîtrisé, fait habilement monter l'angoisse jusqu'au dénouement.

Tout savoir sur The Visit

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

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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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Film credits.

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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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.

Stranger Things star Joseph Quinn's new movie with great Rotten Tomatoes score gets first trailer that looks like a "gnarlier Aftersun"

The film hits UK and Irish theaters this May

The first trailer for Luna Carmoon's dazzling and chaotic feature film Hoard has arrived.

The pic, written and directed by Carmoon, takes place across two timelines: Young Maria (Lily-Beau Leach) lives with her mum Cynthia (Hayley Squires) in a home that might seem like a hoarder's den to some – but to them, it's a fantastical world that serves as a 'catalog' of their love. 

Older Maria (Saura Lightfoot Leon) spends her teenage years with her foster mom Michelle, but has never stopped grieving the loss of Cynthia – nor has she let go of her childhood habits. 

Stranger Things' Joseph Quinn plays Michael, an older (and rather scared and confused) boy who unexpectedly shows up in Maria's life. Suddenly, she finds herself finally confronting the trauma of her past.

The brief clip, which can be viewed above, showcases Michael and Maria's strange and playful relationship – which consists of everything from food fights to physical fights to Maria seeing how far she can go to gross Michael out. Those moments are intercut with clips of Young Maria and her mum, showing the viewer that Maria's childlike wonder (and chaotic tendencies) has simply never left.

Hoard has a 90% Fresh rating on Rotten Tomatoes, with British GQ describing the film as a "gnarlier Aftersun." The film first premiered at the 2023 Venice International Film Festival with Carmoon taking home the Authors Under 40 – Best Directing and Screenwriting Award, The Film Club Audience Award, and the Verona Film Club Award.

Hoard is set to hit theaters on May 17 in the UK and Ireland. For more, check out our interview with Joseph Quinn, Saura Lightfoot Leon, and Luna Carmoon .

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Lauren Milici is a Senior Entertainment Writer for GamesRadar+ currently based in the Midwest. She previously reported on breaking news for The Independent's Indy100 and created TV and film listicles for Ranker. Her work has been published in Fandom, Nerdist, Paste Magazine, Vulture, PopSugar, Fangoria, and more.

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The Visitor

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Après la mort de son beau-père, Robert et sa femme Maia quittent Londres pour retourner dans la maison d'enfance de Robert. Dans le grenier, il découvre un portrait qui lui ressemble fortement, il ne tarde pas à découvrir l'identité de ce mystérieux sosie connu sous le nom de visiteur. Partout où va le visiteur, la mort le suit...

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