Any discussion of this film needs to start with a very specific message: This film is a dark fantasy and horror-thriller, not a psychological drama. The marketing seemed to focus on the latter, which does nothing to help the misconceptions and harm done in the mental health world and which rather misrepresents the film itself. While to some extent Split does stigmatize mental illness and people living with mental illness, by the end the film clearly reveals that the behaviors and symptoms it depicts are not inspired by or even analogous to real-life disorders, but rather indicative of a fictional mythology begun by one of Shyamalan's earlier films.
Beyond the problematic marketing, then, Split is an effective horror flick that keeps us on the edge of our seat and reminds us of why we really do like M. Night Shyamalan (if we ignore his work between 2010 and 2015). A basic plot and thin screenplay -- a man with an extreme caricature of mental illness abducts three young girls -- leave a lot up to the director, and we see a master of the uncanny in his element. He views the proceedings with a knowing eye, and a fun sense of demented glee, keeping everything safely PG-13. Reminding us that not all horror has to be ripped and splattered across the screen, Shyamalan performs his old-school suspense and weirdness act with great sentiment if not quite great effect. In addition, his control over the narrative seems dubious at times, but by the end we see that he knew what he was doing all along.
I'd argue that 10 Cloverfield Lane, in all its narrative and thematic similarity, is a better film by virtue of its cinematography, editing, script, and general atmosphere. But Split works best when it focuses on the talents of its two leads. James McAvoy single-handedly saves the film from top-shelf mediocrity with his showstopping performance, flipping between personas with athletic enthusiasm and suave dexterity to electrifying effect. Anya Taylor-Joy, though given almost nothing to work with, almost matches him but in subdued manner, heavily nuanced with self-loathing and righteous fire. Thankfully, Shyamalan and Taylor-Joy worked well in crafting a complicated damsel in distress, one who ultimately escapes and subverts that trope.
While its familiarity and irritating subject matter might make you want to roll your eyes -- as I did a few times during the viewing -- give Split a watch. If only for McAvoy, the film is far better than your average thriller fare. And then there's the final scene, which isn't really a twist ending, but it changes everything about the film and made me appreciate it a whole lot more.
IMDb: Split
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