M. Night Shyamalan, after getting caught up in a near historic downward spiral since 1999's The Sixth Sense, finally started a reversal in terms of quality with 2015's The Visit, a $5M horror film which had mixed reviews but was actually a darn good flick which grossed $98M worldwide. To keep creative control on his next project, M. Night agreed to make The Split for just $10M for Universal, and it opened to generally positive reviews and a $40M weekend.
The Split, it turns out, is a pretty fantastic & smartly written horror film that combines the right amount of humor, jump scares, psychological horror moments, and plot complexity to make it a film well worth watching.
The opening series of scenes, excellently crafted, set the dark tone. It is clear from the beginning that this is the role that James McAvoy was born to play. He kills it as Kevin Wendell Crumb, an out-of-control person with an extreme multi-personality disorder. It's when the evil people inside of him take over, that you have to watch out.
Though not perfectly cast throughout, most roles are cast damn well. Betty Buckley does a fantastic job as Wendell's psychologist, a very difficult role to play. Anya Taylor-Joy plays the lead, a young girl named Casey who comes with a very troubled past. She weirdly relates to Kevin in a way that others can't. Taylor-Joy plays this complex role fine at times, and terrifically in some of the more emotional scenes. These three main characters are so well written, so well established, and so well acted, that the others pale in comparison. I think M. Night would have been better off playing some horror story stereotypes (more than he did) just give some flavor to the minor characters.
By far the worst casting misstep is the role that M. Night chose for himself. Although brief, it was more than enough to kick me completely out of the movie—something that happens every damn time I see him on screen. He's far too recognizable, and just not good enough of an actor to pull it off. Like Tarantino, every single time he casts himself, it's a monumental error of judgment.
I was enthralled throughout the movie by how it was written so effectively to be shot on a low/medium-sized budget. M. Night accomplished this by writing fantastic characters and putting them in extreme situations. His directing is phenomenal. The blocking and lighting are excellent. The compositions are what we expected of M. Night when he was in his prime. He now has fallen in love with the slow XXL zoom, but smartly doesn't rely on it too heavily.
And the ending...oh that ending. I'll try not to ruin it, but I will mention that instead of a hardcore M. Night twist, he relies on a couple significant reveals, and the last one is a doozy. Of course, some will love it, some will hate it. Either way, you'll be thinking about long after you leave the theatre. And that's always good.
I really like this film. It's better than the critics state. And thankfully, we now have hope for a full M. Night Shyamalan resurrection. Thank God, he's back.
My rating: 8.9/10.
Jon David Rosten, author of
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