IF Review

If we’re being honest here, variety and originality have never really been the family film’s strongest suit, however, the dire situation the genre currently finds itself in is something else entirely. Whether it’s down to the risk-adverse nature of modern studios, a complete lack of ideas, or just plain laziness, the current dearth of original family-friendly films is glaring.

Sequels, reboots, IPs, and huge franchises rule the roost these days, but while this is all understandable (to a point), the distinct lack of imagination on display really is quite depressing. What better way to break this gloom then than with a shiny original story with creativity and imagination at its very heart?

Going through a particularly tough period of her life, young Bea (Cailey Fleming) is startled to discover that she can see imaginary friends (or IFs for short) long since abandoned by the children they once helped. When she discovers that her neighbour Cal (Ryan Reynolds) possesses the same incredible ability, the two join forces to reunite these long-forgotten IFs with their former kids.

On the surface, as someone whose most significant directorial efforts to date have been A Quiet Place and A Quiet Place Part II, it’d be easy to dismiss John Krasinski’s range as a filmmaker, however, dig a little deeper and the full spectrum of what he has to offer becomes clear. For all their jump scares, moments of agonisingly tense horror, and killer aliens, the root appeal of both A Quiet Place movies were their surprising (but wholly satisfying) level of heart.

Both films put family at the very heart of the action, and while this could easily falter in lesser hands, through Krasinski’s empathetic directorial eye, it’s a revelation. As such, while Krasinski’s tonal U-turn from apocalyptic alien invasion to cute imaginary friends appears jarring at first, it actually makes complete sense.

For anyone aware of his work as an actor and general on-screen personality, there are few more likeable, more earnest dudes in Hollywood than John Krasinski, and while he’s come a long way from his Jim Halpert days, he’s clearly never let the big time go to his head. As with his wholesome on-screen persona, Krasinski’s filmmaking approach is very much an emotive one, with IF perhaps the best example of this to date.

Whether it’s murderous deaf aliens or bizarre imaginary friends, Krasinski knows precisely where the heart is in his films, and the trick he pulled off with A Quiet Place in emotionally anchoring his high concept sci-fi horror in a low-key family drama he manages to replicate once again – except, you know, with a talking banana this time. In a heart-breaking opening sequence that gives Up a run for its tear-jerking money, you instantly know Krasinski is set to whisk us off on yet another emotionally charged ride, and the man doesn’t disappoint.

Hitting the feels like a live action Pixar film, IF may well have the appearance of a cute family-friendly flick, however, in fully engaging with themes of grief and loss, Krasinski’s film manages to get its emotional balance just right. The exploration of these subjects certainly isn’t subtle, but it works very well, as Krasinski knows exactly where the emotions are with the story and precisely how to extract them.

In particular, the film’s engagement with the idea of growing up, growing old, and dispensing with the moments, the memories, and the imagination that once helped you through your childhood is incredibly poignant. It’s certainly a weighty concept for young audiences to fully comprehend, many of whom will likely still be in their imaginary friend phase themselves, yet it will undoubtedly be one that will hit home for older viewers. The very notion of reengaging with long lost childhood habits to help guide you through the emotional minefield of adulthood is one that will land for many, and it’s something that IF broaches rather well.

Gliding along on the kind of whimsical, delicately poignant score that Michael Giacchino has made his own through the years, IF packs quite the emotional gut punch; and even as the plot begins to wander and the quirky characters begin to pile up, it never loses sight of its heart. And make no mistake, this emotional anchoring is vitally important, especially as the story’s idiosyncrasies and inherent goofiness threaten to run away with it at any moment.

As you may expect from a story involving Ryan Reynolds, a big purple monster, and a veritable smorgasbord of wild and wacky animated creatures, IF is an inherently silly film; however, it’s a testament to John Krasinski’s skills as a writer and a director that, even as the plot shenanigans do kick in, they never swamp the story or undermine its emotions.

Backed up by an absolutely stacked voice cast, IF’s various imaginary friends are an odd collection of randomly assembled ideas and concepts. Some work, some don’t, however, the vast majority are fun, endearing, and creative in their own wonderfully weird way. Whether it’s a unicorn, a melting marshmallow, or just a glass of ice water, encountering this seemingly endless stream of fantastical imaginary creatures is as baffling as it is brilliant.

Much like the rest of the film, however, the entertainment value of these IF characters is somewhat undermined by a lack of coherence and consistency. Despite the clear potential with the setup and with these creatures, the film never really mines it to its full potential, leaving many elements of the story feeling undercooked.

Unfortunately, the same must be said of IF’s human characters. Other than our protagonist, Bea, much like the film’s various imaginary friends, the remainder of IF’s human characters are a little too hollow and a little too underdeveloped to fully capitalise on the script’s emotional potential.

As charming as ever but surprisingly restrained, Ryan Reynolds is a typically magnetic presence, yet, with his energy levels uncharacteristically low, it’s hard not to feel disappointed that he’s not able to fully engage with the madness of the setup. Likewise, John Krasinski is his usual affable self, yet there’s undoubtedly something amiss there; a factor not helped by his father character appearing to be tethered to a single hospital room throughout, causing him to feel disconnected and disengaged from the rest of the plot.

The true star of the show, however, is undoubtedly young Cailey Fleming. Already boasting an enviable filmography despite her tender years, Fleming steps up to be the star of the IF show; displaying fantastic chemistry with both human and non-human co-stars alike while managing to balance the film’s emotional and fantastical elements to help carry the film through even its wobbliest moments.

And, unfortunately, these wobbly moments do arrive. Of the film’s issues, perhaps its biggest is just how disjointed the plot feels. Never quite finding its rhythm and never really fulfilling the potential of its concept, IF’s script often feels like it’s holding things back as it continually struggles to piece the story together in a manner that has us fully invested in its world.

There are certainly plenty of occasions when the story looks ready to take off, however, just as it appears to do so, something gets in the way and the plot wanders off in another direction entirely, exposing logic holes, character issues, and narrative inconsistencies as it goes.

However, despite these problems, there’s certainly much to admire and much to enjoy with IF. As a charming slice of the kind of original family filmmaking you rarely see in an age of cynical sequels, IP cash grabs, and bloated franchises, it’s just incredibly hard to be mad at a film that has its heart so firmly in the right place. And, while it’s a shame it never quite hits the heights of imagination that its concept so enthusiastically champions, the film is as charming and irrepressible as its director.

Despite being hindered by a disjointed plot and a lack of narrative coherence, IF is quite the delight. Propelled along by a masterful Michael Giacchino score and the pure charm of John Krasinski’s direction, IF is a sweet, tender ode to childhood and the power of imagination that knows exactly where its emotions are located and precisely how to extract them.