'IF' Barely Squeezes Past Its Overly Mushy Heart
The imagination is a magical place. But is it magical enough for IF to win hearts over? Mostly. In his directorial debut John Krasinski tries hard to warm audiences hearts. He tries a little too hard as the film can get hammy. Some moments had my eyes rolling. It might be Micahel Giacchino's score that's so playful it sometimes distracts from the drama. Still, it's a Michael Giacchino score that has memorable beats to it. The themes Giacchino usually writes are simple but catchy. IF is no exception. The score goes for the heartstrings with its full instrumentals that will have you humming its theme after the movie ends.
IF is a poignant reminder of the importance of friendship, family, and the power of imagination. It's about holding onto our childhood even when we age out of it. There's a certain aspect of childhood that Writer/Director/Star John Krasinski is trying to communicate. When we become adults, we let go of our imagination. The struggle of everyday life can make us forget about what it's like to be a kid and have fun. IF stands for imaginary friend, a concept that instantly takes us back to our carefree days filled with wonder and excitement.
The film argues that everyone, child or adult, should have an imaginary friend. An IF is the person who's there for us when we need them the most. In this film's case, it's for the imagination of a little girl. Bea's (Cailey Fleming) father (John Krasinski) is going through surgery, presumably heart surgery. Early in the film, Dad tells Bea he has a broken heart. While his heart breaks, Bea's father tries his best to keep things positive for his daughter.
With nobody she can really talk to Bea kindles a friendship with an IF. Blue (Steve Carell) is a big furry friend who looks like Grimace from McDonalds. A lot like him. For a second, when seeing a preview of the film, I couldn't distinguish it from a McDonald's ad. Luckily, the film has more soul than a Micky D's spot. Is the film too sentimental? Oh, dear lord, yes. But even so, it has enough spirit to keep it going. The film has a bit of too much love. At one point in the flick, Blue, along with the other IFs, literally extends a glowing heart from their chest like it's E.T.'s finger. Spielberg should sue the filmmakers for copyright infringement.
There is a fair share of genuinely affecting scenes. One, for instance, comes from Bea's grandmother (Fiona Shaw). Grandma always wanted to be a dancer, but the dream never came true. The IFs bring back that feeling of being on the stage for Grandma. Through playing a record of Sparticus, Grandma dances as if she were young again. The IFs provide something to people that gives them their confidence back. They're like the emotional entities in Inside Out. They're beings tied to our feelings that shape us into who we are. Unlike Inside Out, these beings don't exist.
Although touching, isn't it a bit concerning that our main characters are speaking to no one? Not only that but how strange is it when adults start having imaginary friends (IFs)? Do adults really need imaginary friends? If they do have an IF, they might be schizophrenic.
IF can sometimes feel like two different stories happening simultaneously. The main conflict of the film is Bea's father's surviving surgery. Yet the film breaks away from that plot to focus on the IFs helping Bobby Moynihan present a business report. They take a side journey with Bea to show how they can help people in need of an IF. This is where the film lost me. Overall, I enjoyed it, but this aspect nearly knocked me out of the narrative. Only kids should have imaginary friends. Not adults. Secondly, why is the film moving away from the most emotional part of the plot? We get other folks need IFs but we don't need to see them go around and help everyone. Keep the drama centered on the family.
Despite being too sentimental at times and narrativly focussing on the wrong thing on occasion, there's enough joy to be had in IF. It's a film that certainly inspired a lot of actors to join the project. The celebrities who voiced the imaginary characters are a massive cast. From George Clooney to Matt Damon and Jon Stewart, the movie is loaded with stars. It doesn't elevate the material. It's just a bunch of personalities assigned to forgettable roles. Outside of Blue, there's not much to distinguish each imaginary character. Other than Ryan Reynolds, who isn't a CGI cartoon that looks like garbage.
For once, Ryan Reynolds is given a role where he's not constantly cracking jokes. Reynolds plays more of a ringleader of the IFs. There's not much to say about him or the other IFs, as they just don't have a memorable presence. They all feel like knockoff characters from popular brands, whether it be Grimace or Hello Kitty. On the surface the film is about learning how to say goodbye and embracing life even during the darkest of times. The sentiments from John Krasinski's feature film resonate but not to the degree where you'll be shedding tears, as hard as the film wants you to.
There's something overly simplistic in IF that may turn off a lot of adult viewers. The film comes off like it's speaking to the audience as if they're all children. Even if that is the intention, it's unnecessary and overly sappy. For a family film, the movie will likely delight those who love their sentimentality served nice and corny. After your family leaves the theater, the kids will likely get more out of the film than the adults. Unlike far superior films like the aforementioned Inside Out and the Toy Story series, IF leaves little existentialism to make for a lasting appeal. It's made for a certain age range, barely making it to reach another. It tries desperately to make you cry but can't do it the way Pixar does so well. However, IF gets a pass for being genuine enough in the director's sentiment.
