In the shadows of our mind lurks the haunting power of imagination, that untamed wilderness where our deepest hopes and darkest fears intermingle. Imaginary dares to trek into those foreboding thickets, confronting us with the disquieting truth that the realms we conjure possess their own autonomous existence. What begins as an innocent child’s dalliance with a tattered teddy bear warps into an unholy compact, blurring the line between the dreamed and the dreadfully real.
Like tentacles of insanity encroaching, this unsettling psychological horror worms its way under the skin to raise probing questions: Are we truly the masters of our imaginary creations, or have we breathed life into beings beyond our control?
Can the figments that manifest make flesh an indelible mark, parasitically leeching sustenance from our doubts and terrors? Wadlow’s latest descent into big screen delirium posits that the imaginary friend may be more foe than innocent whimsy. Disabuse yourselves of childish fancies, for the realms of reverie can spawn infernal torments…
Splintered Domestic Bliss
Jessica, a successful children’s book author, moves with her new husband Max and his two daughters from a previous marriage back into the idyllic suburban home where she spent her own tumultuous early childhood. While surly teenager Taylor rejects Jessica’s attempts to bond, her younger sister Alice forges an unsettling connection with Chauncey, an ancient teddy bear discovered in the house’s shadowy basement.
At first, Alice’s prattling interactions with her “imaginary friend” seem like wholesome playtime. But beneath the whimsy lurks something far more sinister, as Chauncey’s intentions mutate from benign fantasy to nightmarish reality. He propels Alice down an increasingly perilous path, even goading her to self-harm as part of a dark scavenger hunt cloaked in childlike games.
Jessica’s efforts to shield Alice merely expose her own repressed horrors from those formative years spent in the home’s embrace. Haunting memories of a looming arachnid monster and a mysterious vanishing during childhood converge with the present-day menace. As Chauncey tightens his malign grip, Jessica finds herself plunged into a hellish underworld where imaginary fiends manifest as tauntingly tangible beasts.
With Max conveniently absent on a musical tour, the family’s delicate domestic bonds unravel at the seams. Jessica’s only ally is an eccentric neighbor well-versed in the metaphysics of imaginary companions – cold comfort as Chauncey’s campaign of demented whimsy spirals toward unspeakable godly stakes.
Muddled Manifestations
Let us indulge Wadlow’s proclamation that Imaginary aspires to channel the impish verve of M3GAN while probing the psychological scars a parent’s mental unraveling can etch onto the souls of their offspring. A laudable ambition, to be sure, but one undercut by pedestrian execution across nearly all cinematic fronts.
The director himself seems torn between cultivating an aura of foreboding dread or knowingly winking at his schlocky premise, leaving Imaginary stranded in an indefinable tonal murkiness. Subtlety and restraint are sacrificed for Rivers of ham-fisted jump scares and noisy stingers on the musical score, while the few genuine unnerving moments (a harrowing nightmare sequence, Chauncey’s unblinking silence) are undermined by cheap CGI embellishments.
The visuals are Industrial Light & Magic these are not; the glimpses of an M.C. Escher-tinged ethereal dimension resemble a video game from the PS2 era. And while practicality is embraced for animatronic creature effects, the results are more chuckle-inducing than chilling, like subpar Sid & Marty Krofft knockoffs. Even that serviceable gimmick grows stale through sheer repetition.
Wadlow’s ineffectual grasp extends to shaping performances equally unmemorable shades of beige. DeWanda Wise as Jessica is handed a mercilessly thankless role as the prototypical put-upon Final Girl, blindly blundering despite harboring psychic gifts clearly established to nudge the rickety plot forward as needed. Young Pyper Braun exhibits flickers of unease, but spends far too much tedious screen time earnestly conversing with thin air or bonding with an utterly inexpressive stuffed bear.
On the opposite end, the supporting cast leans into grating caricature, from horrendously conceived comic relief (Betty Buckley as a lore-spewing neighbor) to gratuitous B-movie sneers (Tom Payne’s Max exits early for thankless rock star reasons, while Taegen Burns’ Taylor exists solely to scowl and hook up with the skeezy burnout next door). Not even the glimpses of imagination within Jessica’s whimsical book illustrations resonate – these crude crayon sketches look like the work of a troubled kindergartner, not a massively successful author.
The impression is of a slapped-together Frankenfilm, limply stitched from superior genre hallmarks like the aforementioned Coraline and Poltergeist, with little authorial flair or clarity of perspective binding the patchwork pieces. Imaginary simply cannot manifest its grand ambitions into cohesive substance, however noble its ephemeral ambitions may have been.
Fractured Psyches, Tainted Reveries
While Imaginary flounders in effectively delivering surface-level scares, its thematic undercurrents possess an unsettling potency. At its core, this is a tale of damaged psyches – both for the tormented children and their ill-equipped guardians – and how the innocent imagination can be a salve, or a binding spiritual shackle.
For young Alice, battered by her mother’s unseen psychological horrors, the harmless stuffed bear initially represents a retreat into the coping fantasies embraced by so many traumatized youth. But that benign comfort warps into malignant psychological bondage as Chauncey’s true, primordial essence is roused – a sinister harkening to the dreadful experiences that first catalyzed Alice’s need for an imaginary protector.
Her stepmother Jessica is haunted by her own shadowy past within these domestic confines, the gnarled roots of her nightmares about surreal, predatory beasts taking insidious form. Her idyllic childhood was clearly no storybook, those halcyon youthful reveries now transmogrified into debilitating night terrors and repressed recollections yearning for psychological release.
Even the well-meaning but ill-equipped fathers in Imaginary cannot escape allegory. Max, the rock star dad constantly on the road, represents the unavoidable paternal absence that can enable the spiritual wounds to fester, while Jessica’s own unseen father is a shattered husk deteriorating in in-patient limbo. The imaginary friends are not mere stuffing, but prisms refracting generations of domestic strife rendered three-dimensional.
There is tragically fecund territory to explore in how the subconscious amaranthine blooms of youth yield poisonous fruit when neglected or exploited by the terrors awaiting on adulthood’s dark horizons. Imaginary articulates these potent themes fitfully, through images and half-formed narrative tendrils more compelling than the rote genre scaffolding they desperately try to support. Still, one cannot fault the well for being polluted when the source is so painfully, hauntingly deep.
Echoes of the Macabre Lineage
To properly calibrate expectations for Imaginary, one must situate it within the hallowed canon of imaginary friend terror it so clearly evokes. The film is a pale echo of Henry Selick’s peerless Coraline, sharing that modern classic’s motifs of a young girl’s psyche imperiled by otherworldly interlopers, as well as its dimensional transcendence into phantasmagorical realms.
Imaginary’s most apparent precursor, however, is Don Mancini’s immortal Child’s Play series. While lacking that franchise’s wicked sense of potty-mouthed humor, Wadlow’s take similarly hinges upon an innocent plaything’s uncanny transmogrification into profane malevolence. Even the fiend’s unsettling silence and creepy immobility evoke the unnerving Chucky before his foul tongue was loosed.
One could charitably interpret Imaginary as a desacralized Secular take on the Catholic-rooted supernaturalism of William Peter Blatty’s The Exorcist, with the demon in question being psychological rather than theistic. But such allusions may be too generous; this is ultimately a flimsy yarn that disintegrates into a Dimly lit CGI slog before incoherently slam-cutting to an empty climax devoid of cathartic resolution or infernal grandeur.
In the annals of killer doll/plush pal terror, Imaginary doesn’t quite join the ranks of the platinum-plated. It instead lands with a muddled, forgettable thud somewhere between the audacious so-bad-it’s-good indulgences of Trailer Park of Terror and the impotent straight-to-video sludge of Dolly Dearest. A pedigreed lineage, to be sure, but one this derivative misfire will struggle to transcend.
Imaginary’s Banality Betrays Its Ambition
For all its lofty aims to blend domestic psychodrama with metaphysical imaginary friend lore, Imaginary ultimately amounts to little more than a forgettable melange of shopworn genre tropes and bluntly thudding execution. While glimmers of inspired visuals and potent themes about childhood trauma poke through the narrative detritus, the overall experience is an eminently skippable slog.
Jeff Wadlow’s indecisive direction, caught in an unproductive push-pull between schlocky cheesiness and self-serious dread, neuters any potential for consistent tone or genuine frights. The uninspired performances and cut-rate production values merely compound the profound mediocrity on display. For all the fevered dream logic and ethereal realms teased, the ultimate product is painfully prosaic – a horror film that feels more like a disposable rerun than visionary nightmare.
When even the most middling mediocrity can find unmissable virality in our content-starved age, the biggest insult one can hurl at Imaginary is that it simply is not memorable enough to be remarkably bad. This inert lump of genre re-tread fully merits the beatific indifference of being utterly ignored and forgotten. An invisible friend is better than this sadly imaginary misfire.
The Review
Imaginary
Imaginary squanders its premise and ambitions through muddled execution across the board. While glimpses of inspired visuals and intriguing themes about childhood trauma emerge, the overall experience amounts to a forgettable slog of shopworn horror tropes delivered without conviction or artistry. Jeff Wadlow's indecisive direction, caught between schlocky camp and self-serious dread, strips the film of any consistent tone or genuine frights. The uninspired performances and cut-rate production values only compound the profound mediocrity on display. When the biggest insult is being too bland to be even memorably bad, Imaginary fully warrants the oblivion of being utterly ignored and forgotten as a sadly invisible misfire.
PROS
- Glimmers of inspired visuals and imaginative concepts
- Some intriguing themes about childhood trauma
- DeWanda Wise gives a committed performance
CONS
- Muddled tone, can't decide if it wants to be campy or seriously scary
- Derivative plot that borrows heavily from other horror films
- Uninspired dialogue and characterizations
- Cheap-looking special effects and production values
- Unsatisfying, abrupt ending
