A magical beach accelerates the aging process in M. Night Shyamalan’s “Old.” It also tested my patience.

Since 1999’s “The Sixth Sense,” Shyamalan has been one of Hollywood’s most remarkable success stories. That first film earned him Oscar nominations and had film critics crowning him as the next Steven Spielberg.

With each film that followed, Shyamalan became trapped in a loop trying to outdo himself. The twist in “The Sixth Sense” had become so memeable the director kept reaching for that next a-ha moment to detonate the popular culture’s collective mind. This resulted in diminished returns, both at the box office and with the filmmaking itself.

2015’s “The Visit” proved Shyamalan still had a little magic left in his filmmaking bag of tricks. Since then, he has directed the mega hits “Split” (2016) and “Glass” (2019). Audiences are excited again for his next movie, a situation he hasn’t really experienced in since 2004’s “The Village.”

In “Old,” Guy (Gael García Bernal) and Prisca (Vicky Krieps) are a married couple nearing the end of their relationship. Their children, Trent (Nolan River) and Maddox (Alexa Swinton), do not seem to know that when this vacation ends their parents will be separating. The family arrives at a swanky tropical resort where the staff welcomes them with beaming smiles and curated drinks. It is a perfect respite from their struggles.

After a relaxing first night, as they try figuring out the next day’s itinerary, the resort manager recommends they explore a nearby private beach about which only a few have knowledge. Turns out, the manager also makes a similar recommendation to some other guests including a surly doctor (Rufus Sewell), his trophy wife (Abbey Lee) and her daughter, a nurse (Ken Leung), and his epileptic spouse (Nikki Amuka-Bird). When they arrive on this picaresque beach, everything is fun and games until someone finds a dead body.

Based on its premise alone, “Old” is a grand return to form for Shyamalan. A family crumbling under the weight of Mom and Dad’s inevitable separation seeks healing on a tropical resort vacation, however everything goes bananas when they wind up on a magical beach with a group of strangers. Why are they prematurely aging? Are they here by chance, or were they selected? Why can’t they escape? A number of mysteries keep this plot rolling.

Plus, the movie looks like an advertisement for a Mediterranean vacation. Every shot is rich, decadent vacation candy. Even if the story loses you, you could easily luxuriate in the crystal waters and pristine shores. Shyamalan and his team want us to feel as pampered as his characters, at least until the horror of their situation crashes on them like high tide.

The horror is where “Old” lost me and tested my patience. Each character experiences their own aging ordeal, giving us a wide menu of awful things to witness. However, since the premise makes it clear time is accelerated, we get little time to learn about these characters. It is impossible to empathize with their terror. This film is brimming with ideas but bereft of feelings.

That is the problem with much of Shyamalan’s films. His ideas are incredibly strong, but his reach often exceeds his grasp. The ambition is admirable even when the execution is not. As a story, “Old” may have major flaws, but as a work of cinema—that visceral experience of images and sound edited together—it is a compelling look at how we do not spend enough time enjoying the moments that fill our lives.

And there is my test of patience: I wanted to love the filmmaking and the storytelling, but with “Old” it is impossible to do both.

“Old” is currently in theaters.