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 Split (2017) Director:M. Night Shyamalan Starring: James McAvoy, Anya Taylor-Joy, Betty Buckley, also a Shyamalan cameo (of course) Split is the 12th film directed by M. Night Shyamalan, loosely based off of the true story of a man with DID (dissociative identity disorder) who went to trial and was acquitted of multiple rapes by reason of insanity - the man, Billy Milligan, had lawyers who successfully pled the case that two of his personalities committed the crimes without him knowing what was taking place. Casey (Taylor-Joy) is kidnapped along with two other classmates by a mysterious man (McAvoy) who imprisons the three of them in a room for some unknown purpose. The man is clearly intending darker purposes for the three girls, but Casey seems resigned and almost familiar with the abuses that might be visited upon them; she's certainly not as willing to break free in the more conventional "jump him and let's escape" sense. Casey's curiosity pays off when the man begins to exhibit multiple personalities before the girls, several of which occupy more screen time than most: impulsive nine-year-old Hedwig, matronly yet steely Patricia, and the intense, dangerous, OCD sufferer Dennis. Casey decides that their best bet of survival is to play the personalities off against each other in a bid to find a way out without provoking physical retribution. Outside the dungeon-like confines of the girls' prison, Dr. Karen Fletcher (Buckley) begins to grow suspicious as she receives multiple e-mails from Barry asking for help; Barry, she knows, is one of 23 personalities belonging to her longtime patient Kevin. She's also well aware that not all of Kevin's personalities are as laconic and friendly as the easygoing fashion designer Barry, and she carefully attempts to piece the puzzle together over several of Barry's visits even as he flatly denies requesting anything. Dr. Fletcher is determined to succeed in uncovering the mystery behind Barry's e-mails, not only for Kevin's sake but for the validation of her theories of DID sufferers. Time is ticking, though - Dr. Fletcher knows that Kevin's suppressed, darker personalities believe in the concept of "The Beast", something which honestly just doesn't sound super pleasant coming from someone with 23 personalities. Ultimately, it seems as though the girls' attempts at escape will depend upon Dr. Fletcher's success at getting the right answers. OR WILL IT?[/shyamalan] Jokes aside, this movie is a continuation of Shyamalan's return to form after 2015's The Visit, a really effective slow-burn thriller that I recommend as a light watch. Split is notably darker than The Visit, but there's still humor to be found here - McAvoy's got great opportunities playing Hedwig to draw laughter that's both nervous and genuine at once; watching a physically fit man exhibit the mentality of a grade-schooler draws laughs, but there's a menace behind the performance as the audience wonders how long it will be before the creepy Dennis decides it's his turn to take over (or, for that matter, the equally creepy Patricia). Speaking of McAvoy, he's working his rear end off here. Granted, the four personalities I mentioned are the ones he seems to sink the most work into (we get a look at some of the others later, but they don't seem as fully developed or realized). That shouldn't really detract from the fact that he pulls off something pretty great here with his performance; it's entertaining as hell. Taylor-Joy is also effective as a young girl clearly hiding something more behind her practiced loneliness, and Buckley's Dr. Fletcher is relentless yet quite clearly cares deeply about Kevin and his ability to lead a normal life. Now for what you likely expected from a Shyamalan movie: Yes, there is a twist. Yes, this movie goes batshit fairly quickly in the third act. Spoilers below: The Twist: Turns out Dr. Fletcher's theories were correct - she believed that the brain, in creating certain personalities of a DID sufferer to deal with trauma, would have a psychosomatic effect on the body. For example, some patients' personalities had high blood pressure or diabetes, while others didn't. We're expected to believe that "The Beast" is a fictional concoction of Dennis and Patricia, a cannibalistic creature that can climb walls and has rock-hard skin. It's not - it ends up being Kevin's newly-emerged, 24th personality and he gains horrific strength, incredible resilience, and can climb along walls at the climax of the movie; he survives two shotgun blasts at point-blank range. It's likely not coincidental that Kevin's 23 personalities are analogous to our 23 pairs of chromosomes, and a 24th personality suggests something extra - something superhuman. Speaking of analogues, if this sounds like a villainous origin story along the lines of Shyamalan's well-regarded superhero origin story Unbreakable, I've got good news for you! The Even Bigger Twist: Surprise - this is a stealth sequel to Shyamalan's well-regarded superhero origin story Unbreakable! It's only revealed in the last 30 seconds of the movie, as a patron in a diner watches a news story on Kevin's rampage and can't quite put her finger on a similarly strange , wheelchair-bound mass murderer in Philadelphia years ago - fortunately, David Dunn (Bruce Willis) is there to remind her that the man's name was Mr. Glass. Overall, I liked this movie. I think the flashback scenes to Casey's childhood with her father and her uncle were a bit superfluous at times, but necessary to showcase the abuse at the hands of her uncle, which saved her from Kevin but ultimately doomed her as Casey returned to her uncle's care at the end of the movie. Plus, I'm a loving sucker for Unbreakable and Shyamalan pushed that drat nostalgia button with that final scene. He's already spoken of the possibility of a sequel which would pit David Dunn against Kevin Crumb/The Horde. ElectricSheep fucked around with this message at 04:57 on Jan 22, 2017 |
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Jan 22, 2017 04:18
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Well that's a good twist, I expected there to be 23 clones of this guy from a zainy military experiment gone wrong.
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Jan 22, 2017 10:10
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Funny enough, I told my wife that's what I thought would happen too when I first started seeing commercials for it. About 30 minutes in I found myself watching the movie for the sake of the movie and not trying to piece out the twist, which is sort of what happened with The Visit, and I think it gave that moment a bit more heft when I wasn't trying to look for it.
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Jan 22, 2017 14:22
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McAvoy did an interview which basically spoiled the (first) twist if you read even a little bit between the lines, which I thought was pretty stupid, but then again, I'm still interested in seeing this which is saying a whole loving lot considering I have watched Lady in the Water and The Happening. e: Even though he didn't direct it, Devil was really fantastic, despite ripping off a Japanese film called Hellevator (and, in a meta-twist, the ending of Hellevator is the same as the ending of The Village, soooo... maybe M. Night thought nobody would notice ripping off the same film twice?) precision fucked around with this message at 17:38 on Jan 22, 2017 |
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Jan 22, 2017 17:35
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I really liked this! I didn't watch any trailers or even read a logline, so I went in totally blind. I have a kinder view toward Shyamalan's films than most so that final scene actually landed well for me. Why not do it? Shyamalan Cinematic Universe. It's not the worst idea I've ever heard by far. Unbreakable was great, Split was great too. Smash 'em together, I say. It's not like Bruno is getting any younger. I think the high point is obviously going to be McAvoy's acting. It's a very, very remarkable role that most actors simply could not perform. The mere act of changing his facial expression had me lurching in my seat. Stellar stuff. He actually sold the various Alter Egos as different characters.
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Jan 22, 2017 19:36
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My entire theater was cracking up whenever a female personality or hedwig had the light. Good movie though.
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Jan 22, 2017 23:57
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Shyamalan really needs to take like a college level primer on mental illness and poo poo because him using it as some hosed up crutch to explain psychotic superhuman poo poo is becoming weird. Also that 2nd bigger twist, wow he had some giant loving balls having that whole thing be the endgame. Kind of hosed up the aspect of "statement on mental psychosis etc" with that bigger twist but oh well. This was absolutely ridiculous and would have been bad if James Mcvoy wasn't so goddamned great.
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Jan 23, 2017 04:20
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He's always made interesting films, but I'm extremely glad he's making good interesting films again. Also the "twist" ending made sense and was more than thematically earned and echoed throughout the film to be a foil to Unbreakable. It will be interesting to see how Dunn and the Beast interact in the sequel because a fist fight between the two isn't going to be appropriate, but there is a poo poo ton of ground to cover with how trauma can warp people while some people remain resilient to it.
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Jan 23, 2017 08:11
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I'm not sure I entirely agree with something you said about the near-ending. I got the sense that Casey isn't going to go back with her uncle, and that she might just "give him trouble" that he warned her against so many years earlier. No real evidence to hang my hat on except the pregnant pause during that scene in the cop car.
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Jan 23, 2017 08:31
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I made a comment along these lines in the Greenlight thread, but I'm glad that Collateral Beauty didn't get to kill the double-twist. I think my favorite thing about it is that there doesn't need to be a follow up or another movie in the "Unbreakable cinematic universe". The mere knowledge of the link between the two makes me like both movies more (and I already liked Unbreakable a lot.)
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Jan 23, 2017 10:37
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I said holy poo poo in the theater at the end of this movie. I accidentally saw the spoiler before hand, but had no idea how far they'd go with it. I was really shocked and stoked. The rest of the film is great. Cheap M.Night is the best M.Night. He really makes a small film look astounding. He'll never reach the creepiness of Signs for me, but he's getting closer. Which is nice.
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Jan 23, 2017 10:43
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Yeah, I think the cheaper, small budget limitation suits him perfectly. This movie is basically centred around four or five fairly well-dressed sets with a few exteriors. Little CG, minimal comping, really only one 'name' actor. it really just works better when he's in a smaller space. The cinematography during the end when McAvoy is crawling on the ceiling, knocking out the lightbulbs was so neat. I can see why he sought out the DP from It Follows.
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Jan 23, 2017 11:53
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So do we just accept terrible acting in movies now, as long as they're low budget thrillers/horror? Movie was total garbage, Night has completely forgotten how to direct actors (or cast actors, who knows) and Blumhouse is the perfect home for his  writing.Really, really bad... and a total joke that it's a sequel to Unbreakable, an actual movie that has actual value.
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Jan 23, 2017 17:18
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zenintrude posted:So do we just accept terrible acting in movies now, as long as they're low budget thrillers/horror? Yeah? Pretty much always did? This is basically a B-movie.
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Jan 23, 2017 18:01
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as batshit as this was, I was impressed with what McAvoy did with his character(s) and how truly creepy/intimidating he came off as.
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Jan 23, 2017 18:45
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MisterBibs posted:I'm not sure I entirely agree with something you said about the near-ending. I got the sense that Casey isn't going to go back with her uncle, and that she might just "give him trouble" that he warned her against so many years earlier. No real evidence to hang my hat on except the pregnant pause during that scene in the cop car. I appreciated that this was left open. The movie seemed like a reaction to the idea inherent in so much genre fiction (esp comics) that trauma is, in itself, fundamentally empowering. Leaving the question open of whether or not Casey has been "empowered" after surviving the beast gave me a lot to think about re: the role of trauma in hero narratives.
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Jan 23, 2017 18:48
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precision posted:McAvoy did an interview which basically spoiled the (first) twist if you read even a little bit between the lines, which I thought was pretty stupid, but then again, I'm still interested in seeing this which is saying a whole loving lot considering I have watched Lady in the Water and The Happening. that's because devil was directed by one of the Dowdle brothers, who also did Quarantine, The Poughkeepsie Tapes, and As Above So Below
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Jan 23, 2017 18:53
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This movie reminded me a lot of Red Dragon.
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Jan 23, 2017 19:15
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I didn't care for it. I thought McAvoy did a decent job with his portrayal of the different personas, but it felt way too much like 'tell, tell, tell' rather than show or hint at anything throughout the plot. Especially the multiple scenes of personality sends urgent email to his doctor, they discuss his personas and how oh the beast will be big and strong and bulletproof etc, then he just leaves the session only to go back the next day, same with the blatant mention of 'if I say your full name, I know you revert back to your OG personality' I mean, I get what they were going for, but so much of it seemed so dull and dragged on. Plus the other two captives seemed completely pointless. They were locked up for most of the movie, then just dead. And I know that the Dennis, Patricia, and Hedwig personalities had pretty much wrested control of the 'spotlight' to prepare for the Beast showing up, but I feel like they could have reduced a lot of the tell everything aspect of the movie if they had maybe shown something like his diabetic persona briefly to hint at the beast actually being capable of having his abilities. As it is, Casey just sees that vlog by that personality as she's trying to escape the room. As for the very ending, it was a cool little twist, but the set-up to it was just so painfully ham-handed. Possibly by that extra's delivery of the dialogue. Isn't that like that crazy guy from fifteen years ago? What was his name again?' just felt so clunky and forced. It could have been less in-your-face blatant if, say, they just panned to Dunn in the diner staring up at the screen, or reading a headline in the paper and the byline had some sort of nod to Mr. Glass. Or skip Dunn entirely and have Mr. Glass seeing the report/headline from where he was locked up and making some comment, or even just him smiling at the news . It was an interesting concept, but I guess it just wasn't for my tastes.
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Jan 23, 2017 19:51
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Well that was THOROUGHLY enjoyable wasn't it, chaps. That ending was like a little gift wrapped up all nicely just for me. Loved it. The tone was very uneven between comedy and suspense, but in a way I didn't mind it because the tense parts needed some levity to break it up now and then.
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Jan 23, 2017 21:39
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precision posted:e: Even though he didn't direct it, Devil was really fantastic, despite ripping off a Japanese film called Hellevator (and, in a meta-twist, the ending of Hellevator is the same as the ending of The Village, soooo... maybe M. Night thought nobody would notice ripping off the same film twice?) How does that work? The twist in The Village is that the film takes place in present day. I assume in a movie that takes place in an elevator, taking place in present day would not be a twist.
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Jan 24, 2017 02:59
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This movie was awful. The meta twist is neat, but has no bearing at all on the quality of the story in the movie itself, which was shallow and boring. I had high hopes after the Visit, but this is a backstep into his usual dreck. I don't understand where the narrative tension was supposed to come from. Was the twist really that there was a beast? Did anyone honestly believe there was not going to be a beast? The whole movie builds up to it, and then we get 10 minutes of "payoff", which equates to him crawling on some walls, tanking a shotgun shell, and bending some metal bars. It wasn't even exciting. Also the trailer ruined 90% of it including him climbing on walls and bending the metal, which made the beast a foregone conclusion before the movie even started. It's not like the rest of the movie was even exciting. The entire thing was a slow burn up to a climax that never came. I'm not even going to get started on Shyamalan's treatment of mental illness, which has always been piss poor. He just uses it so crudely, as a means to a narrative end.
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Jan 24, 2017 04:38
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qbert posted:How does that work? The twist in The Village is that the film takes place in present day. I assume in a movie that takes place in an elevator, taking place in present day would not be a twist. The film allegedly takes place in a dystopian future where everyone lives underground on floors connected by a massive elevator system. At the very very end, the girl main character reaches the top of the elevator, climbs out a hatch, and it was modern day Tokyo all along!
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Jan 24, 2017 05:07
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precision posted:The film allegedly takes place in a dystopian future where everyone lives underground on floors connected by a massive elevator system. At the very very end, the girl main character reaches the top of the elevator, climbs out a hatch, and it was modern day Tokyo all along! I kind of want to see it now.
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Jan 24, 2017 06:08
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qbert posted:I kind of want to see it now. It's a legitimately great thriller, despite the cheeky Western name.
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Jan 24, 2017 06:18
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Megasabin posted:This movie was awful. The meta twist is neat, but has no bearing at all on the quality of the story in the movie itself, which was shallow and boring. I had high hopes after the Visit, but this is a backstep into his usual dreck. Lol you had high hopes after The Visit, another film where mental illness is used as a means to a narrative end? Not sure how you have a problem with just this movie when The Visit literally casts "crazy people" and demonizes them as literal loving monsters. If anything, this movie handles it slightly better because it's cloaked postmortem as a supervillain origin story and more or less tries to pass off personal suffering as the trigger.. Still corny as poo poo but that's Shyamalan for you.
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Jan 24, 2017 15:09
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MinibarMatchman posted:Lol you had high hopes after The Visit, another film where mental illness is used as a means to a narrative end? Not sure how you have a problem with just this movie when The Visit literally casts "crazy people" and demonizes them as literal loving monsters. If anything, this movie handles it slightly better because it's cloaked postmortem as a supervillain origin story and more or less tries to pass off personal suffering as the trigger.. Still corny as poo poo but that's Shyamalan for you. Oh no, that 3rd paragraph is a separate point. I have issues with his general use of mental illness throughout his movies including the Visit. Separate from that though the Visit was enjoyable as a horror movie, which is why my expectations had increased for this movie.
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Jan 24, 2017 15:25
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I was gobsmacked by the apparent randomness of the ending twist, but I can see it working in the end and it's less random than it appears. the Beast and the therapist spend much of their time in the movie talking about how the broken people are the more evolved people. David Dunn was an emotionally broken man and he became impervious to harm. Mr. Glass was literally broken and became a villain. ATJ's character is "broken" by her abuse and is spared for having something in common with Kevin. Kevin is broken mentally and able to manifest crazy poo poo physcially and is ruled by his animal instincts. Also, in Unbreakable, Glass' mother talks about the difference between fighting with your body and your mind. It's also in plain sight right there in the titles, and it's loving cheeky: Unbreakable... Split. Overall though, it wasn't a great film. I agree with Megasabin in that I felt like the tension between the beast being real, or not was always kind of a forgone conclusion. There were a bunch too many pregnant pauses. The uncle subplot is meaningless and felt really trite and clichéd unless considered in the context of maybe Anna Taylor-Joy becomes a superheroine in the next film, too and joins up with Brucey? strangemusic fucked around with this message at 04:59 on Jan 27, 2017 |
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Jan 27, 2017 04:39
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Oh man guys, so I had the weirdest experience seeing this flick, and I need y'all's help. I was spoiled on the Twist by n article io9 had that said the movie is better if you're spoiled on it. So I took a friend to go see the flick who I knew wasn't spoiled, so I could see how he felt about it. He loving threw his popcorn on the ground and stood up before the movie even cuts to the diner.I yanked him back down because A) The movie aint done yet but B) I at least wanted him to know what the twist was. The ending happens, he storms the gently caress out of the theatre. So I'm figuring that he's got a problem with how they handle the DID in this flick and he explains to me that it's like Morally Wrong to make the girl survive because of her sexual abuse and that his problem seemed to be that the movie even had a character who was sexually abused in it, and that it was crass and vulgar in the same vein as Fridging a female in fiction. Like...nah, right? This isn't a case of a movie treating women badly, or at least not enough to get up and storm out of the show huffy puffy, isn't it?
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Jan 29, 2017 08:23
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Victims of abuse are frequently portrayed in media as being tougher or more resilient as a result of their experience. That tends to be viewed in a negative light among people who work in domestic and sexual abuse response fields, because it creates a situation where characters essentially benefit from being abused. This is true of depictions of all trauma to a certain extent (Batman, for example) but receives more attention in sexual and domestic abuse because it's quite prevalent and often not reported. Your friend may feel strongly about sexual abuse. They might even know someone with a history of sexual abuse. What seems like overreaction to you might actually be a lack of knowledge on your part. Throwing popcorn on the floor is real mean though  the poor ushers!
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Jan 29, 2017 15:43
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But the thing is, I'd understand that point of view if we're talking about...idk, what's another movie this runs the plot...I Spit On Your Grave? I'm sure there's tons of options but I ain't about to have "rape in movies" in my search history. Point is, rape and sexual abuse being used as a cheap plot device is a problem in movies, I think we all agree on that. But this is a movie that claims if you have DID, you'll be climbing on the walls and have +5 Magical Skin. Which all happens less than five minutes before the Abuse plot line is paid off. When I brought this point up, because originally I assumed THAT was what he had issue with, and his response was "I don't care about the DID Stuff" which is where he lost me. If this movie does have a problem it's how it handles BOTH issues, not just one or the other.
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Jan 29, 2017 17:00
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i get real mad about inaccurate portrayals of mental illness in my b horror movies!!!
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Jan 29, 2017 18:16
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WeX Majors posted:If this movie does have a problem it's how it handles BOTH issues, not just one or the other. That's the big debate over the movie right now. Does the ending justify the inaccurate depiction of DID? It takes place in a superhero universe where superpowers exist. So having a character with super-skin who can climb on walls is no weirder than Spider-Man having spider powers.
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Jan 29, 2017 20:05
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I think part of the problem was that the two girls who got eaten were portrayed as just as smart, capable, brave, and kind. The only reason the main girl survives is because another man had already raped her making her 'pure' in the eyes of the villain. It was her most distinguishing characteristic. Abuse is a touchy subject in film, but it's generally tasteless for the plot to define / distinguish characters entirely by abuse they've suffered. (Especially when actual victims regularly struggle against being defined by their abuse.) Split weighing it that heavily was a clumsy handling of a delicate issue. I didn't toss my popcorn, but I get why your friend did - especially if Split's uninformed presentation resonated against his own experiences or someone's he knows. e: I actually enjoyed the angle he took by portraying DID as a only potentially a mental illness while hinting at pseudo-supernatural connections. It boosted my (much needed) suspension of disbelief for the ending, and divorced the lovely aspects from the real world. If the super-spoiler had come at the front of the movie, it might have realigned our expectations - portraying mental illness in the context of the superhero comic book reality of Unbreakable is much easier to accept than "this is happening an hour from your theater." moths fucked around with this message at 20:28 on Jan 29, 2017 |
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Jan 29, 2017 20:21
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There was a lot of really compelling thematic stuff and genuine menace in this movie, which reminded me of 10 Cloverfield Lane in a lot of ways. It was a worthwhile experience, but there was still the terrible stench of M. Night's writing wafting through the air. He still treats his audience like they're idiots, having characters recite exposition into the camera because he either didn't have the time/budget to show it, or he didn't think the audience would understand. For instance, he establishes through verbal and visual cues that Dennis has OCD and is a pervert. Cool. I get it. But I was almost groaning in my seat as the psychiatrist lady started saying "SO HEY YOU'RE DENNIS AND YOU HAVE OCD AND LIKE SEX CRIMES!" For gently caress's sake, Shyamalan, I GOT it. I understood. You were doing just fine, and you slipped back into your terrible Lady in the Water-era habits. But other than that, it was fine. Except the shotgun. That's not how you load a loving shotgun.
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Jan 30, 2017 00:59
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moths posted:I think part of the problem was that the two girls who got eaten were portrayed as just as smart, capable, brave, and kind. The only reason the main girl survives is because another man had already raped her making her 'pure' in the eyes of the villain. It was her most distinguishing characteristic. From Kevin's perspective, he only saw that Casey was covered in scars, not that she was raped. I would hesitate to say that he'd know immediately that they were self-mutilation scars - death of the author and all that - but as a rule most people don't incur scars like that at a young age unless they've been through abnormal trauma. We only know she was molested because of the flashbacks. Also, I have a genuine question to those offended by the presentation of DID: no problem and you're well within your rights to as per your experiences. Hell, personal experience left me rolling my eyes a bit when I went to see Side Effects, a movie which took an ostensibly suicidal, depressive patient and made her into a murderer that committed the premeditated murder of her husband under cover of the Ambien Walrus. I didn't take anything personally here because I didn't feel as though anything was being presented beyond the scope of B-movie horror/thriller, but YMMV. Anyway, at least two posters have mentioned multiple movies where M. Night has maligned mental illnesses for the sake of a plot. Apart from this movie and The Visit, what others are we talking about? e: joke answer - inclusion of Mark Wahlberg in The Happening ElectricSheep fucked around with this message at 01:37 on Jan 30, 2017 |
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Jan 30, 2017 01:27
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I liked the movie for what it was, but I'll agree that the subplot with ATJ and her uncle was poorly done, and the implications of the reason for her survival to be a little troubling. I'm confused about some aspects of the DID Kevin suffered from and I'm wondering if they were addressed at all in the movie and I just missed it. In ATJ's interactions with Hedwig, he intimated that he was in control of who was allowed to take the light, and that this privilege used to belong to Barry before it was wrested away by Dennis and the woman personality. Why does Hedwig have this power now? Where does a mentally deficient 9-year-old boy factor in to a plot to bring about an apocalyptic being? Also, We Need to Talk About Kevin. He seems to be the main progenitor personality, but he's been tucked away since 2014, even kept in the dark about the goings-on of the body. Have the other personalities agreed to keep him suppressed, and if so, for what reason? In the short time we saw him he seemed to be pretty rational and considerate. Also, the Dr. seemed to know that Kevin was a personality that hadn't been around in a while since Barry took charge, she knew how to summon him, yet she also seemed to be perfectly okay with the knowledge that the other personalities were keeping him banished with Dennis and the woman to some kind of nether region of their psyche. What's that about?
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Jan 30, 2017 04:59
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God Hole posted:I'm confused about some aspects of the DID Kevin suffered from and I'm wondering if they were addressed at all in the movie and I just missed it. In ATJ's interactions with Hedwig, he intimated that he was in control of who was allowed to take the light, and that this privilege used to belong to Barry before it was wrested away by Dennis and the woman personality. Why does Hedwig have this power now? Where does a mentally deficient 9-year-old boy factor in to a plot to bring about an apocalyptic being? I think Hedwig was always able to take the light whenever he wanted to. Being a 9 year old it was pretty random, but Dennis and Patricia convinced him to steal it and keep it and only give it to them.
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Jan 30, 2017 05:15
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ElectricSheep posted:Anyway, at least two posters have mentioned multiple movies where M. Night has maligned mental illnesses for the sake of a plot. Apart from this movie and The Visit, what others are we talking about? The Village. You could maybe argue The Sixth Sense.
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Jan 30, 2017 05:17
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DID is actually a good choice, because it's already a fictional disorder. Plus the way he envisioned it in the movie fit nicely into his themes/narratives. The Visit is the movie that actually felt pretty exploitative in it's use of mental illness.
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Jan 30, 2017 06:05
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