Split.  Rating:  3 (out of 5).  Kevin has shown 23 personalities to his trusted psychiatrist, Dr. Fletcher, but one is yet to emerge, and set to dominate all others. As he feels compelled to abduct three girls, Kevin reaches a war for survival among all his personalities, and everyone around him, as the walls between his personalities shatter apart. Catch the film on VOD on Tuesday, April 18.  The San Francisco Chronicle says, “Always watchable, and occasionally great. And that’s probably more than even the most forgiving former Shyamalan fan ever thought they’d see again.”

Starring: Anya Taylor-Joy, Betty Buckley, Haley Lu Richardson, James McAvoy, Jessica Sula
Director: M. Night Shyamalan
Rating: PG-13
Genre: Thriller, Horror



Boston Globe thinks, “It’s a movie eager to examine the stigma of mental illness and the dynamics of victimization, to a point. Past that, it’s just distressing, narratively convenient exploitation that gets by on the strength of McAvoy’s fearless, electrifyingly adaptive performance.”

New York Observer gives the movie 1 out of 4 stars, and further writes, “Unfortunately, Split is a preposterous bore that steals shamelessly from “The Search for Bridey Murphy,” “The Three Faces of Eve,” “Sybil” and Shirley Jackson’s novel “The Bird’s Nest,” made by a man who has been spending entirely too much time watching “Law and Order: SVU.”“

Variety says, “Shyamalan’s goal is to keep us guessing, and in that respect, Split is a resounding success — even if in others, it could have you rolling your eyes.”

According to The New York Times, “Split is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It’s also absorbing and sometimes slyly funny.”

Chicago Sun-Times gives the film 3.5 stars, and further notes, “With the chilling, creepy, bold and sometimes bat-bleep absurd “Split,” the 46-year-old Shyamalan serves notice he’s still got some nifty plot tricks up his sleeve and he hasn’t lost his masterful touch as a director.”

San Francisco Chronicle says, “Always watchable, and occasionally great. And that’s probably more than even the most forgiving former Shyamalan fan ever thought they’d see again.”

USA Today gives the movie 3 out of 4 stars, and calls the movie “an eerie and intimate psychological thriller with Hitchcockian tones harkening back to the Shyamalan’s early 2000s run that put him on the filmmaking map.”

Village Voice finds, “McAvoy is impressive as he switches personalities, but never scary or moving; the script gives him many chances to exhibit virtuosity but too few for soulfulness.”

According to Los Angeles Times, “Split doesn’t just revive Shyamalan’s career; it resurrects his brand.”

The Seattle Times gives the film 2 stars, and further writes, “Except for a late Shyamalan-ish wink at the audience, “Split” is rarely fun or frightening. It’s not “The Happening,” but it’s not really happening, either.”

New York Post says, “Unfortunately, you could probably improve Split by editing out everything around McAvoy and making it an experimental one-man show.”

Wall Street Journal thinks, “Instead of the silence of the lambs, “Split” gives us the babble of the bores.”

Chicago Tribune finds, “While McAvoy is known for his dramatic roles, and as the young Charles Xavier in the “X-Men” franchise, he’s delightful when let off the leash and allowed to show off his loud, campy, unhinged side.”

New York Daily News writes, “Split smacks of the director’s past fare, and its suspenseful, scary tone recalls “The Sixth Sense.” When Shyamalan embraces his identity as a horror director with a knack for surprises, more fun is had by all.”

The Hollywood Reporter calls the movie “A long-overdue comeback for the director of ‘The Sixth Sense.’“

Washington Post says, “For all the outrageousness of Kevin’s alters, the movie falls oddly flat: less tantalizingly enigmatic “et cetera” than “blah blah blah.”“

Philadelphia Inquirer gives the movie 3 out of 4 stars, and further writes, “While it features little on-screen violence, Split is a deeply disturbing film that covers every evil human deed from kidnapping to cannibalism. But it’s also wildly funny in parts.”

The New Yorker thinks, “In short, we are watching an old-fashioned exploitation flick — part of a depleted and degrading genre that not even M. Night Shyamalan, the writer and director of Split, can redeem.”

Christian Science Monitor finds, “Shyamalan is a one-trick pony who needs to find a new rodeo.”

New York Magazine (Vulture) observes, “My loathing of Split goes beyond its derivative ideas and second-hand parts.”

New Orleans Times-Picayune says, “If Split does one thing, it’s to show that “The Visit” wasn’t a fluke. If it does another thing, it’s to make me intrigued to see what he has in store for us next.”

Arizona Republic writes, “After that streak of deadly misfires it’s nice to see Shyamalan enjoying himself again.”

According to Tampa Bay Times, “There’s a twist to M. Night Shyamalan’s Split that caught me flat-footed: It’s actually a good movie, something his past decade made as hard to predict as Bruce Willis being dead in The Sixth Sense.”

Austin Chronicle notes, “As far as cinema’s long love affair with DID dramas goes, Split ain’t a half-bad contribution.”

The Globe and Mail gives the film 3 out of 4 stars, and further notes, “Anyway, I’m of two minds when it comes to Split: McAvoy is excellent, but, for pure squeals and entertainment, the film falls short of Shyamalan’s The Visit from 2015.”

The Telegraph says, “While every detail matters, they don’t all point towards a kick-yourself climactic revelation. All you have to do is climb aboard, keep checking your blind spots, and enjoy the rackety ride.”

According to The Guardian, “Split goes all-in on McAvoy slipping from persona to persona, and luckily he’s got the acting chops to sell it.”

Consequence of Sound thinks, “Shyamalan ingeniously places his leading man front and center, where McAvoy amuses and horrifies as the cliché plot points sometimes stumble.”

Empire Online gives the movie 4 out of 5 stars, and further notes, “This psycho-thriller showcases an awards-worthy performance from James McAvoy. Shyamalan papers over plot-holes with dry black humour and well-judged suspense, and — as always — holds back some surprises.”

Indiewire finds, “Split avoids being entirely tedious thanks to McAvoy’s standout performance as he cycles through those personalities, sometimes from line to line.”

Movie Nation says, “Shyamalan gets his chutzpah, if not exactly his mojo back with this solid and modestly thrilling thriller.”

Time Out New York gives the movie 3 out of 5 stars, and further notes, “Half your audience (I’m being generous) will gasp; the rest of you will roll your eyes. Split, indeed.”

MTV News thinks, “Split has to satisfy both audiences that believe in trigger warnings and the camp crowd that just wants to see McAvoy pull the trigger. And so, Shyamalan trickily asks us to redefine victimhood.”

ReelViews observes, “Unimaginative horror movies are a dime a dozen, but overlong, boring, unimaginative horror movies? Those are rare. However, in Split, that’s what writer/director M. Night Shyamalan has provided the early 2017 movie-going populace.”

RogerEbert.com gives the movie 3 stars, and further notes, “A rare, straight-up horror film from Shyamalan, “Split” is a thrilling reminder of what a technical master he can be.”

Rolling Stone says, “This might have degenerated into a cheap gimmick if not for the way Shyamalan lets us inside the childhood trauma that pushed his tormentor into multiple personalities.”

Slant Magazine gives the movie 3 out of 4 stars, and further notes, “Split is personal and outlandish, with riveting plotting, somber storytelling, and elegant construction.”

According to Screen International, “Split is a highly effective, nerve-shredding horror movie that makes the most of its claustrophobic setting, familiar setup and psychological gimmicks”

ScreenCrush says, “Although occasionally heavy-handed, Shyamalan’s latest is his most considerate and effective film in years, with a startling emotional core.”

The Film Stage gives the movie a B- rating, and further notes, “It’s absurd and results in one of my favorite endings of the year. It also ends the proceedings on a catastrophically bad note for what it’s trying to do — but, hey, you’ll sometimes trip when you dance between tones so much.”

The Playlist thinks, “[Shyamalan] still knows how to manipulate an audience with an original story, and with “Split,” we don’t mind him pulling the strings again.”

Total Film gives the movie 4 out of 5 stars, and further notes, “This is a Shyamalan movie through and through. And it’s his best in some time, thanks to a magnetic McAvoy.”

The Verge says, “The results aren’t flawless, but Split is nevertheless a tense, exciting thriller anchored by a stunning performance by James McAvoy. And it may just restore Shyamalan fans’ belief in the power of the twist ending.”

TheWrap writes, “It’s made with campfire-spooky care rather than an abiding need to impress you with his gifts.”

A.V. Club gives the film a B+ rating, and further notes, “Split is funnier, campier, and more freewheeling than anything its writer-director has done — slightly overlong, but reminiscent of Brian De Palma films like “The Fury” and “Femme Fatale” in its refusal to be boring.”

According to Time, “Split is compulsively watchable.”

We Got This Covered gives the film 3 out of 5 stars, and further writes, “Split is never as clever or poignant as it thinks it is, but James McAvoy won’t let it be forgotten, either.”


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