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.
McAvoy's multi-personality performance is the film's undisputed centerpiece, drawing near-universal admiration even from critics who found Shyamalan's direction uneven or worse. The real split in reviews is over the director himself — some see a genuine craftsman rediscovering his Hitchcockian instincts, while others find the same film exploitative and morally troubling in how it frames its teenage victims.
“masterful blend of Hitchcock, horror and therapy session”
Jordan Hoffman·The Guardian
“a thrilling reminder of what a technical master [Shyamalan] can be. All his virtuoso camerawork is on display: his lifelong, loving homage to Alfred Hitchcock, which includes, as always, inserting himself in a cameo. And the twist—that there is no Big Twist—is one of the most refreshing parts of all.”
Christy Lemire·RogerEbert.com
“Shyamalan has returned to what he loves to do: use cheap horror tropes to create his own harebrained mythos”
David Edelstein·New York magazine
“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.”
Anthony Lane·The New Yorker
Horror, Thriller
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.
McAvoy's multi-personality performance is the film's undisputed centerpiece, drawing near-universal admiration even from critics who found Shyamalan's direction uneven or worse. The real split in reviews is over the director himself — some see a genuine craftsman rediscovering his Hitchcockian instincts, while others find the same film exploitative and morally troubling in how it frames its teenage victims.
“masterful blend of Hitchcock, horror and therapy session”
Jordan Hoffman·The Guardian
“a thrilling reminder of what a technical master [Shyamalan] can be. All his virtuoso camerawork is on display: his lifelong, loving homage to Alfred Hitchcock, which includes, as always, inserting himself in a cameo. And the twist—that there is no Big Twist—is one of the most refreshing parts of all.”
Christy Lemire·RogerEbert.com
“Shyamalan has returned to what he loves to do: use cheap horror tropes to create his own harebrained mythos”
David Edelstein·New York magazine
“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.”
Anthony Lane·The New Yorker
Horror, Thriller
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