Múltiple

No es que no quisiera gritar «¡Señor…!» con los primeros tonos del clásico de la banda sonora de James N. Howard. (No quiero revelar nada). Y sí que me dio escalofríos. Pero para Split, que no tiene prácticamente punto final ni momento de sorpresa, esta «ampliación» se le añade por sí sola. Lo cual es una prueba de que Shyamalan no se convirtió en un superhombre, a pesar de lo que sufrió su alma después de la caída del pedestal en Hollywood. Pero aun así, fueron dos horas agradables. Tiene su estilo irresistible, que siempre me gusta recordar por su divina trilogía. (08.02.2017)

McAvoy's captivating showreel, which is very good for a long time, then sometimes it gets quite bad (because it is unreasonably long) and boldly sophisticated during the meta-closing... Or desperate that already missed the bus. I do not (yet) know, since neither I don´t have a clear opinion on this. It will depend a lot on whether or not it's over, because it's not finished. (19.01.2017)

I’m split with this film, to put it mildly. On the one hand, Shyamalan holds a strong card with James McAvoy, who delivers an amazing performance. It’s also well crafted, several parts manage to generate a dark, almost evil atmosphere, which is contributed by a cacophonous score and nice cinematography. On the other hand, I was unable to overcome the sensation (at least during the first viewing) that the mythology behind the story is utterly stupid, even ridiculous in some places. My experience was like riding a rollercoaster: nice… nice… nice.. pretty good… nice.. hell, this was stupid… nice… nice… oh no… But when I look back at the mythology, it doesn’t seem as stupid as it did during the screening (for instance, it has some interesting analogies about faith and religion), and now I’m more inclined to believe that the execution is a bit sloppy. For the time being, I’ll leave it at three stars, though it’s leaning towards four (and a second viewing might help). In any case, I think The Visit was better, but, this one’s nowhere near the low levels Shyalaman’s films reached between 2008 and 2013. And a spoilery PS: It is very sad that the first Czech review (yeah, Fuka’s) is not only built on spoilers, but also the result of a misunderstanding of the film or of inattention to it, or a distortion or embellishment of the plot. Specifically in these passages: “At the end of the film, Kevin’s doctor also goes into his cellar, and she knows the terrible truth: There’s a 24th identity hidden in Kevin, one that’s not human but a supernatural monster!” Or “During the entire climax, it never occurs to the main character to repeat Kevin’s full name to render him harmless again.” Those are pure lies. Alas, the post-truth era. It doesn’t matter that someone is using bullshit as an argument, what’s important is that they have a strong opinion and trash the film. EDIT: After a week, I’m adding the fourth star. I keep coming back to the film (in good will). In this case it would be a pity to rate it as average, even if the complaints listed above remain, but they are no longer so intense. (19.01.2017)

The King is back in full force. While others pound it into you for two hours and go soft at the end, Shyamalan spends more than half the film escaping to comedic proprieties that are quite creepy knowing that three young girls are being held against their will in the basement. While McAvoy is cutely tripping on his tongue, or strictly driven by OCD (if the Academy wasn't so exclusive to certain genres, the Oscar nomination would have been there for him), somewhere in the back you begin to sense a creeping evil. The last half hour is pure phantasmagoria driven to the extreme, but so precisely handled cinematically that the dark vibe will knock a hole out from within your head. Anya Taylor-Joy will be a big star one day (hopefully outside the genre). PS: The bar scene isn't gratuitous - it's a confident and bold joke that harkens back to a time when some people and some things made us feel confident. (19.01.2017)

Behold, infidel, who said that the genius visionary and director with Indian roots M. Night Shyamalan is well past his prime. After a series of commercially not very successful (but in my opinion definitely not bad) movies, he presents a film that deals with an incredibly interesting idea, which is also supported by practically perfect acting performance by James McAvoy. I have no idea what’s going through Shyamalan’s head when he’s coming up with such complicated premises, but I have to say that he’s doing a terrific job of putting his ideas on the screen, and mainly, he’s stirring up such emotions in me that I’s never come up with them myself. While watching this film, I actually felt that I was watching something that is rewriting the history of film and something that there will be lectures about in universities. That’s the kind of impression this movie made on me. (22.01.2017)