After discovering she can see everyone's imaginary friends, a girl embarks on a magical adventure to reconnect forgotten imaginary friends with their kids.
IF, directed and written by John Krasinski, is a film that ambitiously attempts to blend whimsical fantasy with deep emotional themes. Starring Cailey Fleming, Ryan Reynolds, and Krasinski himself, the movie embarks on an intriguing journey that, unfortunately, falls short in execution.
The film begins with an energetic and somewhat chaotic feel reminiscent of a Transformers movie. Early scenes featuring the character Blue, who clumsily crashes into objects and gets stuck in tight spots, evoke comparisons to Bumblebee from the Transformers series. This light-hearted introduction suggests a family-friendly adventure, setting the stage for what appears to be a wholesome narrative.
However, IF soon reveals its true ambitions as it delves into complex themes of coming-of-age, grief, and repressed memories. The protagonist, Bea, has the unique ability to see and interact with lost imaginary friends (IFs). This premise, while appealing, is where the film's troubles begin. The concept of a child reconnecting imaginary friends with their human counterparts holds great potential, yet Krasinski struggles to find a coherent and engaging way to bring it to life.
One of the film's most significant issues is its lack of consistent universe-building. As the story progresses, this absence becomes increasingly problematic. Despite a series of visually impressive set pieces, including a lively musical number that feels out of place, the film fails to establish a believable and immersive world. The larger-than-life scenes, while entertaining on a surface level, do not contribute meaningfully to the emotional core Krasinski aims for, resulting in a disjointed experience.
IF is a strange film that straddles the line between magical realism and grounded storytelling. At times, it appears to be a children's movie, filled with whimsical elements and fantastical creatures. Yet, it also tackles sombre
and dark themes that resonate more with adult audiences. This mixture of tones creates a sense of inconsistency, making it difficult for the film to fully engage either demographic.
and dark themes that resonate more with adult audiences. This mixture of tones creates a sense of inconsistency, making it difficult for the film to fully engage either demographic.
The movie's central theme revolves around the loss of innocence and the bittersweet nostalgia for childhood. Krasinski clearly wants viewers to feel a range of emotions—longing, regret, wistfulness, and whimsy. However, despite these noble intentions, the film's emotional impact is largely non-existent. The story jumps between different threads, many of which feel unresolved or directionless, contributing to an overall sense of underdevelopment.
The relationships in IF are another area where the film falters. Key characters, such as Benjamin, who befriends Bea in the hospital, and Bea's interactions with her father, lack depth and development. These connections, which should form the emotional backbone of the story, are instead superficial and unconvincing.
Ryan Reynolds, portraying the often-flustered Cal, delivers a performance that feels more like a typical Reynolds role than a character tailored to the story. His trademark snark and humour are present, but they do not mesh well with the film's more serious elements. Fleming, playing Bea, occasionally seems lost, struggling to navigate the film's shifting tones. The supporting cast, including a notable voice ensemble, also fails to leave a lasting impression. The focus on giving each luminary voice actor their moments detracts from the overall narrative, leading to a lack of cohesion and depth in the supporting characters.
The film's pacing is another significant drawback. The story is hindered by a muddled first act and a predictable conclusion. The beginning is unnecessarily confusing, with too many elements introduced without clear direction. As the film progresses, the plot slows down, especially during scenes where Bea and Cal audition IFs to find new children. While these moments start off fun, they quickly drag, leaving viewers questioning their purpose and relevance to the main story.
The central idea of a child seeing imaginary creatures and helping them find new human friends, or reconnecting them with their former friends, is a great concept on paper. Yet, Krasinski struggles to execute this idea effectively. The film is packed with subplots that go nowhere, and the lack of specificity in the narrative lowers the stakes, making it hard for the audience to invest emotionally.
One of the core issues with IF is its struggle to balance the fantastical elements with the real-world themes it wishes to explore. The film exists in a reality where the fantastical cannot be ignored, yet it often feels as though Krasinski is too engrossed in the world of imaginary friends to address the serious points adequately. The transition between the warm, sweet fantasy moments and the harsh intrusion of reality feels forced and jarring.
IF is a movie with an appealing premise and admirable intentions, but it ultimately falls short of its potential. The film's ambition to tackle deep themes within a fantastical framework is commendable, but the execution is lacking. The mixed tones, underdeveloped characters, and inconsistent universe-building create a disjointed narrative that struggles to engage its audience.
Despite its flaws, IF calls for a reconnection with the innocence and wonder of childhood—a sentiment that resonates with many. The animation is superb, bringing the imaginary characters to life in a believable manner. However, the film's inability to resolve its numerous plot threads and the miscasting of key roles prevent it from achieving the emotional impact it seeks.
In the end, IF is a curious blend of ideas that, while interesting in theory, does not come together in a satisfying way. Krasinski's efforts are notable, but the film serves as a reminder that a strong concept alone is not enough; it must be matched with coherent storytelling and well-developed characters to truly succeed.
IF was released in NZ cinemas on May 16, 2024