Split

Within the process of watching an M. Night Shyamalan film, there is a parallel and simultaneous process of looking for its unavoidable twist. This has been true of every film the writer-director has made since his surprise debut, “The Sixth Sense,” almost two decades prior. We thought: How will he surprise us? What clues should we be looking for? Will it actually work this time?

Christy Lemire said in her review, “Increasingly, with middling efforts like “The Village” and “Lady in the Water”—and dreary aberrations like “The Last Airbender” and “After Earth,” which bore none of his signature style—the answer to that last question has been: Not really.” Which makes his 2017 film, “Split,” such an exciting return to his originality. A rare, straight-up horror film from Shyamalan, “Split” is an exciting reminder of what a technical master he can be. Every one of his brilliant camerawork is shown here: his lifelong, loving tribute to Alfred Hitchcock, which includes, as always, making himself have a cameo. And the twist – that there is no Big Twist – is one of the most thankful returns of everything.

Lemire said, ““Split” is more lean and taut in its narrative and pace than we’ve seen from Shyamalan lately.” Despite its almost two-hour running time, it feels like it’s constantly moving forward, even when it flashbacks to provide perspective.

Lemire described, “It’s as if there’s a spring in his step, even as he wallows in grunge.” A lot of that has to do with the masterful performance from James McAvoy as a kidnapper named Kevin fighting about two dozen split personalities.

From OCD maintenance man Dennis to playful, 9-year-old Hedwig to moralistic, British Patricia to flashy, New York sharp-dresser Barry, McAvoy brings every one of these personalities to life in undeniably shallow yet entertaining ways. Lemire noted, “There’s a lot of scenery chewing going on here, but it’s a performance that also showcases McAvoy’s great agility and precision.” He has to make changes both big and small, sometimes in the same vein, and it’s a largely engaging display to see.

His portrayal of this disturbed person is darkly funny but also unexpectedly sad. Kevin is evil regardless of which personality in control, but the primary childhood trauma that caused him to create these personalities out of defense clearly still hurts him as an adult. Lemire said, “Flashes of vulnerability and fragility reveal themselves in the film’s third act, providing an entirely different kind of disturbing tone.”

However, first there is the kidnapping, which Shyamalan does in resourceful, fascinating way. Three high school girls get in a car after a birthday party at the mall: pretty, loquacious Claire (Haley Lu), Marcia (Jessica Sula), and shy, laconic Casey (Anya Taylor-Joy), who was invited along out of guilt. However, they quickly see the man driving them isn’t Clarie’s dad – it’s Kevin, who wastes no time in knocking them unconscious and dragging them back to his improvised, underground lair.

Repeated visits from Kevin, with his different personalities, gradually make it clear that their caper has multiple personalities. Only Casey, who becomes the trio’s smart leader, has the guts to talk to him. Lemire noted, “As she showed in her breakout role in “The Witch” as well as in “Morgan,” Taylor-Joy can be chilling in absolute stillness with her wide, almond eyes—as much as McAvoy is in his showiness.” She makes Casey more than your typical horror protagonist to cheer for, mainly with the help of quietly suspenseful flashbacks that show how she got her survival instincts. Her co-stars aren’t given nearly as much characterization or clothing, sadly.

However, we also get a greater understanding of Kevin’s condition through the daily sessions he (or one of his personalities) schedules with his psychologist, Dr. Fletcher, played by Betty Buckley. A leading researcher in the field, she believes having dissociative identity disorder is actually a reflection of the brain’s wide potential rather than a disability. Their conversations, while superbly tense, also give a welcome source of kindness amongst the brutality.

They help us put together the pieces of this puzzle – which is actually a few different puzzles at once. There’s the question of what Kevin wants with these girls. There’s the question of how they’ll escape. However, the main scary element of this entire situation is how the different personalities interact with each other – how they manipulate and intimidate each other – and whether there’s an even more scary force getting strength.

West Dylan Thordson’s score and a smartly scary sound design help make “Split” an uncomfortable experience from the beginning. However, the movie sways a little toward the end with some devices and coincidences, and it goes in directions that feel a little abusive – as if it’s drenched childhood abuse for cheap thrills. Lemire said, “I’m still wrestling with how I feel about it, but I know I walked out with a slightly icky sense, even as I found the film engrossing both technically and dramatically.”

Still, it’s exciting to see Shyamalan on such confident ground once more, all these years later. Make sure you stay in your seat until the last minute to see what other tricks he may have up his sleeve.

Although now I think everyone knows what the twist is, you should still see this. My brother and I saw this one day since he wanted to watch it, so I checked it out, and we both liked it. If you haven’t been a fan of Shyamalan’s work that he released prior to this, this film will make you like him again. See it and be scared when you watch it.

Next week, we will look at the third film in this trilogy, in the conclusion of “M. Night Shyamalan Month.”