FILMSNAP: A film review that is 300 words or less.
M.Night Shyamalan’s latest may not be the return to form that many have suggested, but at least it’s a return to watchability. It focuses on Casey (Anya Taylor-Joy), an introverted teen who, along with two other victims, are abducted and imprisoned in an underground facility. Their abductor? A man with 23 different names and 23 different, competing personalities, with the 24th personality, ‘The Beast’ waiting to be unleashed…
Split is a film that epitomises Shyamalan’s career so far, laying bare his greatest qualities and exposing his worst. He manages to conjure up more than enough entertainment – a pulpy brew of ridiculous conceits and committed performances – to make the whole viewing experience worthwhile. Yet, similar to many of the flops in his filmography, Split is hampered by shoddy dialogue and bland characterisation. Bettie Buckley’s Dr. Karen Fletcher, for instance, is a character wasted on exposition, a figure for McAvoy to act against while never amounting to anything more substantial. In truth, only McAvoy and Anya Taylor-Joy are given enough screentime to truly function as characters. McAvoy has terrific fun in his role – it’s no Oscar-worthy performance but he’s able to act each character out with enough believability that the narrative doesn’t collapse under the weight of its own preposterousness. Taylor-Joy, in the ‘final girl’ role similar to her part in The Witch, reacts to her situation with superb measure, an enigmatic presence whose past is revealed in a series of surprisingly dark flashbacks.
As a tension chamber, Split succeeds, through murky lighting, slow-panning camera movements and a refusal to acknowledge the ridiculousness of its own premise. More impressively, it manages to explore mature themes in a wholly unique, if clumsy manner. Sadly, the film’s penchant for unnatural dialogue and abandonment of any form of characterisation leaves me with split opinions.