As the title “Imaginary” suggests, the new Blumhouse horror film, now playing in theatres, is all about the power of imagination. Strange then, that so little imagination went into the story.
DeWanda Wise stars as Jessica, children’s book author and artist of the “Molly the Milliped” series and stepmom to preteen Alice (Pyper Braun) and fifteen-year-old Taylor (Taegen Burns). Jess and new husband Max (Tom Payne) are on “operation relocation,” moving into the house she grew up after her father is sent to a long-term care facility.
Jess has happy memories of living there, but may be looking at the past through rose-colored glasses. “No child should ever have to go through what you did,” says Gloria (Betty Buckley), an elderly neighbor who used to babysit Jess.
Soon, Alice hears voices coming from the basement. She investigates and finds Chauncey, a harmless looking, oversized Teddy Bear who becomes her constant companion.
“I found someone else to play with,” she says when Jess suggests they do something together.
Alice and the bear have long conversations, have pretend tea parties and Chauncey even creates a scavenger hunt, so Alice can show him how brave she is. If she completes it, they’ll go together on a trip to where Chauncey came from.
“Nobody loves Alice except for Chauncey,” he says.
As Jess, Taylor and the nosey neighbor do a deep dive into Alice and Chauncey’s imaginary world, the trauma of the past becomes the key that unlocks the secrets of the present.
The PG-13 rated “Imaginary” feels like a reworked “insidious” with less atmosphere and a new, cuddlier malevolent entity. A few twists cut through, providing some grabby moments in a movie that doesn’t deliver the promised scares.
Wise hands in a sturdy performance and Braun does a pretty good creepy kid voice as she utters some of Chauncey’s lines, but none of that matters much by the time the complicated, incomprehensible supernatural stuff really kicks in.
It’s “Insidious” lite, a revamped mythology about the rage unleashed when a friendship bond is broken. Not only do the main players immediately buy into the loopy rationalization for the “Twilight Zonesque” goings-on, but poor Buckley is saddled with the unenviable task of delivering horror movie balderdash about just how imaginary Alice’s new friend really is. The reliance on exposition over scares in the film’s final third blunts the effectiveness of those scenes.
In its examination of childhood trauma and unresolved issues from the past, “Imaginary” has the elements of a good horror film but isn’t imaginative enough to do anything really new.
Let’s twist again, like we did last summer! Or in this case, like we did a decade or so ago when director M. Night Shyamalan became the master of the trick ending. Remember the twist in “The Sixth Sense”? It was one of the best surprises in movie memory. Ever since little Haley Joel Osment uttered those four words that sent chills down audience’s spines—“I see dead people”—Shyamalan has been largely unsuccessful in recreating that kind of jolt for his audience.
His new film, a psychological horror called “Split,” comes close to re-establishing Shyamalan’s reputation as the ziggiest zagger of a storyteller in Hollywood.
The dark story begins in broad daylight with the kidnapping of teens Claire (Haley Lu Richardson) and Marcia (Jessica Sula) and Casey (Anya Taylor-Joy). The three friends are plunked down into an airless basement dungeon, held captive by Kevin (James McAvoy), a man with dissociative identity disorder. In other words his mind has cleaved into twenty-four separate and distinctive personas. Think “Psycho” times 12. To escape the girls must appeal to Kevin’s better nature or natures before the final personality, The Beast, shows up and they become, “sacred food.”
Shyamalan will earn a good chunk of the credit for “Split,” for writing the twisty-turny story, for choosing the anxiety-inducing soundtrack, for constructing a (mostly) taut and tense pulpy thriller with loads of black humour but it is McAvoy that makes the movie memorable.
From the button-down, neat-freak Dennis, to nine-year-old Kanye West fan Hedwig to the sinister Patricia, he jumps from personality to personality, breathing life into each of his characters. The changes are frequently lightening fast. A furrow of a brow, the tightening of the lips and presto-chango, he’s someone else. It’s bravura work, unafraid to go over-the-top, embracing each and every character as if they were the star of the show.
Like all good Shyamalan movies (and some bad ones too) there is a twist, and a good one, but you’ll have to buy a ticket to find out what it is. There will be no spoilers here. Suffice to say the curve ball works thematically as well as providing several ‘What the Hell!!’ moments.
“Split” is wild and wooly, uniting, for the first time in a long time, Shyamalan’s talent for keeping the audience on the edge of their seats and his ability to change the game in the final act.
