Knock at the Cabin is a 2023 American apocalyptic psychological horror film written, directed and produced by M. Night Shyamalan, who wrote the screenplay from an initial draft by Steve Desmond and Michael Sherman.

The film stars Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn, and Rupert Grint.

Knock at the Cabin premiered in New York City at the Rose Hall on January 30, 2023, and was theatrically released in the United States on February 3, 2023, by Universal Pictures.

The next day, TV news reports a deadly variant of a flu virus tearing across the globe, and the intruders sacrifice Adriane.

He proceeds to envision an elderly Andrew and an adult Wen, both thriving in the future, and concludes that their family must have been chosen for the sacrifice because their love is so pure.

Andrew and Wen locate the intruders' truck in the diner parking lot, where they find materials fully corroborating their stories, and the two drive off.

They included Dave Bautista,[15] Rupert Grint, Nikki Amuka-Bird,[16] Ben Aldridge, Jonathan Groff,[17] and Abby Quinn.

"[20] Principal photography took place in Burlington County, New Jersey, from April 19 to June 10, 2022, with cinematographers Jarin Blaschke and Lowell A.

[3][4] In the United States and Canada, the film was released alongside 80 for Brady, and was projected to gross $15–17 million from 3,643 theaters in its opening weekend.

The site's critical consensus reads, "Although it's often less than scary and parts of the story don't bear scrutiny, Knock at the Cabin is a thought-provoking chiller and upper-tier Shyamalan.

"[35] Metacritic, which uses a weighted average, assigned the film a score of 63 out of 100, based on 60 critics, indicating "generally favorable reviews".

"[38] Charlotte O'Sullivan of the Evening Standard found "many plot holes" in the film, adding, "The deeper issue, though, is that the supposedly complex home-invaders aren't given enough space to become interesting.

"[39] Wendy Ide for The Observer wrote, "As the film's bleak momentum builds, so does a tsunami swell of existential dread.

"[40] Stef Rubino for Autostraddle felt that "Like all of Shyamalan's greatest features, what unfolds throughout the course of the film is a family drama but on the grandest of scales.

"[41] Writing for Slate, Sam Adams criticized Shyamalan's changes to the ending and filmmaking choices that gloss over the horrific violence of the story.