download Split (2017) Film complet sous-titrace en francis
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- 2017-01-19
- 116 min.
- Drama, Horror, Thriller
- Universal Pictures, Blumhouse Productions, Blinding Edge Pictures
- James McAvoy, Anya Taylor-Joy, Haley Lu Richardson, Jessica Sula, Betty Buckley, Brad William Henke, Sebastian Arcelus, Neal Huff, Kim Director, Lyne Renee, Maria Breyman, Peter Patrikios, Steven Dennis, Jon Douglas Rainey, Jalina Mercado, Matthew Nadu, Kash Goins, James Robinson Jr., Nakia Dillard, Roy James Wilson, John Jillard Sr., John Mitchell, Andrea Havens, Barbara Edwards, Robert Bizik, Matthew Bowerman, Julie Potter, Kelly Werkheiser, Junnie Lopez, Shawn Gonzalez, Aleksandra Svetlichnaya, Michael J. Kraycik, Michelle Santiago, Corinne Costa, Colin Campbell, Michaela Bockarie, Gary Ayash, Jeff Buckner, Kerry Dutka, Vincent Riviezzo, Izzie Coffey, Ukee Washington, Bruce Willis, M. Night Shyamalan
- Mike Gioulakis, Pepe Pleguezuelos, Charles S. Rowe, M. Night Shyamalan, M. Night Shyamalan, Mark Bienstock, Jason Blum, Ashwin Rajan, Steven Schneider, M. Night Shyamalan, Luke Franco Ciarrocchi, Douglas Aibel, Mara LePere-Schloop, Jesse Rosenthal, Jennifer Engel, Dennis Madigan, Paco Delgado, Kara Morasco, Angeline Zeigler, Phillip Dawe, Matthew Shapiro, John Burton West, Nicole Agostino, Amy Lauritsen, John Rusk, Rita Squitiere, Dave Kellom, Nicole Reed LeFevre, Paul Maiello, Brick Mason, Susannah McCarthy, Michael Feuser, Alex Alcántara, Toño Cubillo, Rodrigo Díaz, Tod A. Maitland, Wyatt Sprague, Aaron Becker, Jerry Yuen, Rachel Ambelang, Kurt Wunder, Anteneh Adamu, Richard Aponte, Tyler Lockard, Ed Mendez, Colton Miller, Jennifer Wessner, Stephen Izzi, Manny Siverio, Thomas Devine, Andy Hensler, Linda Kallerus, Michael Leonard, Ryan 'Sparks' Lynch, Jon Sibert, Diane Dixon, Daniel Rieser, Kyle Rudolph, Pamela Peitzman, Ken McCallum, Sharon Potts, Colleen Kay, Lawrence Zipf, Teresa Binder Westby
- 6.4 Count: 205
- Though Kevin has evidenced 23 personalities to his trusted psychiatrist, Dr. Fletcher, there remains one still submerged who is set to materialize and dominate all the others. Compelled to abduct three teenage girls led by the willful, observant Casey, Kevin reaches a war for survival among all of those contained within him—as well as everyone around him—as the walls between his compartments shatter apart.
- kidnapping, multiple personality
Review
Have you ever been captivated by a trailer and for months looked forward to the advertised film but then when you finally get to see it you are left underwhelmed and disappointed? Unfortunately, that's how I felt about Split, the newest "thriller" from director M. Night Shyamalan.I put the word thriller in quotes because I felt that it wasn't a thriller at all, but rather a drama with tense moments.Split tells two stories rather than just one and I think that's what hurt the film the most. The first story we have is Kevin, played by the brilliant James McAvoy, who suffers from Dissociative Identity Disorder. Kevin suffered a trauma in his past and his brain formed 23 different identities in order to protect itself and a new one is emerging on top of those. Out of the 24 total, we are only shown 8. The 8 that we do see are remarkably well-done and at times rather creepy. The other story we have is Casey, played by Anya Taylor-Joy, who is kidnapped along with her two friends Claire and Marcia and held in captivity by Kevin. We are shown plenty, if not too much, of Casey's past but very little of Kevin's. There's only one minor flashback that gives us a cryptic look at Kevin's childhood but we are given at least five flashbacks of Casey's life. Just to be clear, I'm glad we were shown what Casey's trauma was but I think it could have been approached better. We really didn't need scene after scene to show us that she was a victim. It would have been nice to see more of Kevin's backstory so that we could get a sense of why he is the way he is.
James McAvoy's performance was outstanding. It's hard enough to train yourself to embody one character for a role but to embody 8 is something not many can do. If there is a sequel, which I'm sure there will be, I look forward to seeing some of the other identities. Anya also gave an outstanding performance, perfectly displaying what it's like to carry a burden that you feel you can't share with anyone else, not even your closest friends.
In conclusion, I feel that the film could have been done better. It was decent, but it wasn't shocking or terrifying like the trailer claims. I will say that the ending is surprising; not a plot twist that so many have claimed it to be, but rather withheld information that has come to light in an intriguing way. I give Split 2 out of 4.
Not scary or suspenseful at all. McAvoy's character was ridiculous and not the least bit frightening. In fact, I laughed through most of his performance. I almost walked out halfway through, but i wanted to give the movie a chance to get better- it didn't; in fact, it went further downhill. To call this movie horror or smart or clever, even in the slightest, is a flat-out insult to the viewer. This movie sucks- waste of time and money. The critic's seem to have viewed a completely different version and praise this movie up and down. Not only not scary, but just not a very we written and developed story line. So much potential was lost here. I'm baffled by the rave reviews of the critics, are they smoking something that might have made this an entirely different movie?
A return to the tried and true: M. Night Shyamalan's "Split", which he wrote and directed (both rather clinically), opens with a distinct "Silence of the Lambs" vibe before eventually evolving into a continuation of themes Shyamalan used for his "Unbreakable". Three teenage girls in Philadelphia are abducted from a parking lot by a man with dissociative identity disorder; he harbors dozens of personalities--male, female and child--but the final one to present itself is calling for an alliance of "the horde", and may represent something superhuman. While the opening scenes do have a familiar ring, they are well-executed by the filmmaker, who gives the audience what its probably hoping for; but Shyamalan, to his credit (although some genre buffs might not be so generous), is aiming for something loftier than imprisoned girls attempting to escape from a psychotic. The film offers a dissertation on DID via the captor's somewhat-unwitting psychiatrist, who--via Skype!--gives a clinical rundown of the mental disorder to her colleagues (including case studies). None of this information, however interesting, is utilized in the final stretch, as Shyamalan is out to baffle us with a plot-twist that is both confounding and amusing. While "Split" is creepy on occasion, it isn't effective as a scary thriller. Maybe Shyamalan feels he's above giving his audience a shock, a jolt, but sometimes a few good clichés are better than a round-table discussion. ** from ****
Split is a film that asks you to suspend your disbelief, and at first, even after the many films that this director has done where he goes way too far, I was with Split for about the first half of the way through, or maybe more. I knew logically this is not how DID works (Disassociative Identity Disorder), but hey, it's a movie, let's go with it. And to Shyamalan's credit, he casts the two major parts to the point where it's key and it works. And as a director, overall, and in large part thanks to the cinematographer behind It Follows, it's a film directed with real terror and suspense. It's low-budget, largely a 'bottle' film, and he uses his money with true style. It's paced well... where was I (now I feel like I got this disorder and will become two different critics here, gotta control...)
Oh, yeah, James McAvoy, he's fantastic. He may not be playing 23 personalities in total, but the ones that Shyamalan focuses on are developed enough - among them is Barry (a gay fashion designer that McAvoy sort of plays like a young Pacino or something, in the physicality), Dennis (the one who may seem to be in 'control' and is extremely OCD about any dirt) and Hedwig (who is nine years old, and you can tell) - give McAvoy enough room to explore these personalities. There's times of awkward laughter at first, but this gives way to seeing that McAvoy is so committed to these characters, and is pulling them all of with intensity and charm and disbelief and a madness that is kind of similar to them all, that he's impossible to dislike.
Another key player is Ana Taylor Joy, as she's the one of the three girls that we get to know the most (though with this we get into something of a, for me, forced motivation, but I'll get to that later), and she is on for all of these interactions with McAvoy. She's the one who can somehow speak to Hedwig sympathetically and connect with him, and when she is freaking out and trying to hold things inside, she does this perfectly. Between this and The VVitch she is really on a roll as a major actress for thrillers - she can play terrified, but being in control and being bad-ass works as well. And for a lot of the scenes the actress playing the psychiatrist, Betty Buckley, is believable, as far as she can take the lines to...
Okay, here's where we get into the DID here with this movie in reality, it's with its writer AND then also its director. I don't mean the same person, I mean they are separate entities. Shyamalan the director is on top of his game here, with a formal rigor that hasn't clicked this week in well over a decade (it may even connect to Unbreakable, which... oh, more on that at the end of this). Shyamalan the *writer* is something else. He's still someone who thinks he's oh, so, so clever, and you know what? For that first half or so, he kind of is. At least, again, when it comes to the suspension-of-disbelief factor. He does a more than competent job of giving us a believable enough set-up with these girls being held captive, Barry putting up his false front when emailing but then denying anything is wrong to the doctor, and then how the personalities have their splits with the girls and how they are trying (unsuccessfully to escape)... but then Shyamalan the writer gets greedy. Or insane. Or both.
The biggest problem here is that this man is CHEATING by the end of this, and in a way that is baffling. He can't have enough with having this somewhat preposterous thriller about a man juggling all these personalities that may lead up to "The Beast", the 24th personality. No, it needs to be deeper than that. It also needs to involve child molestation - not just with this man, but the Ana Taylor Joy character when she was younger - and that this, uh, maybe leads into having these super DID powers(!?) He's creating a wacked-out mythology where one needn't exist, and by the time the third act takes off, and you can mark it as soon as the Buckley character comes to Barry/Dennis/Hedwig/Patricia/Et-Al's basement dwelling, it fully goes into bananas territory.
I know, I know, it's a thriller, I know I should keep buying into what this is selling... but I just couldn't. Most of all (oh, hell, you got this far in this review) it's the gall to turn this around to make this as part of a, uh, Shyamalan Cinematic Universe with a Bruce Willis Unbreakable cameo that brings me into the 'you're cheating!' territory. Perhaps this is simply this man's M.O. as far as crafting his material, that he can see ahead and know that this is what he has to do, and that everything ties together... or he wrote himself into a corner, realized he was writing sheer insanity as far as where McAvoy goes in this final third, and had to cover up. Either way, it might work for you... or it may feel like him f***ing with all of us. At any rate, all of the material with The Beast has the sensation of Shyamalan as mad mainstream provocateur, like 'hey, how far can I actually take this stuff, you've come this far right, eh, right? RIGHT?!'
To his credit, this is a more enjoyable piece of madness than The Village, and its final third makes it something I want to revisit simply to show friends in a 'Look upon this wonder in awe' way like The Happening. I think among the Shyamalan *bad* movies, and this is bad make no mistake, it's directed like a pro and the actors are all on their game, and becomes the best of them.
As with any general split, it starts off small and controlled and eventually frays at the edges, with its problems and flaws growing increasingly difficult to ignore. A victim of a terrific central premise, it demonstrates signs of delivering the potential and promise teased in the first act alone - but it eventually becomes too unfocused and complex for the sake of doing so. If we stuck with the idea of Casey attempting to talk to each of the identities, uncovering their flaws and exploiting their weaknesses, it would perhaps be a far superior horror-thriller, one fuelled by a smartness and sophistication; instead, it's rather run of the mill, ludicrous and frustrating popcorn flick that botches its climax with an uncomfortable development and shoehorned twist. It becomes a little laughable and that is the one place you never want to strand your horror film. Shyamalan The Director does decent things here but Shyamalan The Screenwriter lets him down - it's almost as if he is suffering from his own split.
FULL REVIEW - goo.gl/SemOkh
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