It’s exciting to see Shyamalan on such confident footing once more, all these years later.
Two of the most unlucky words associated with the movies are "screen version." We get the screen version of every best seller, Broadway musical, famous battle and criminal career in sight. And too often, the concept of a "screen version" leads to critical nonsense. Movies are reviewed on the basis of how faithful they are to the "original," and a great many critics didn't like "Bonnie and Clyde" because it didn't follow the "facts."
This is a futile approach to film criticism. What matters is whether a movie is good and satisfying as a movie, not whether it is faithful to a novel, a play or some other art form. Indeed, many films are great precisely because they translate their original sources into the language of cinema. "Bonnie and Clyde" was factually inaccurate, sure, but it was profoundly true to the meaning to those two criminal lives.
The other side of this coin is the movie that is too devoted to its original sources. If there was a fault in Luchino Visconti's excellent "The Stranger," it was that the director limited himself to interpreting the ideas already present in Albert Camus' novel. Visconti brought no new vision of his own to the story.
On a less cosmic level, "The Odd Couple" has the same problem. This is indeed a "screen version" of Neil Simon's comedy: Most of the dialog is lifted intact from the play script, and even the sets and a great deal of Mike Nichols' original Broadway direction are used without significant change in the movie.