After taking us into A QUIET PLACE in two box office hits (with a prequel arriving very soon), actor/director/writer John Krasinski now guides us into a fairy noisy place, namely the inner life and fantasies of children. And going from sci-fi thrills to whimsey is quite the “lane change”, one that could end in disaster if not properly planned. Luckily he’s crafted a story and has enlisted a talented cast in front of the camera and the microphone. Yes, this is perhaps the most ambitious cartoon/live-action feature since the pairing of private eye Eddie Valiant and Roger Rabbit. And since it uses computer-generated “beasties” (rather than the 2-D classic style), Krasinski is touting it as a “live-action Pixar flick” (quite a goal). And he’s really putting those tech wizards to work in showing us the often unseen children’s side-kick, the invisible friend, here shortened to IF.
After a “finger-paint” riff on a familiar studio logo, we’re plunged into the early years (via lots of grainy jittery home video) of Bea. She cavorts and plays with her doting parents until…the scenes shift to a hospital room where mom sports a head scarf. And then it’s her and Dad walking in the park. The scene shifts to the present day as twelve-year-old Bea (Cailey Fleming) lugs her suitcase up the steps of the gothic Brooklyn brownstone where her grandmother (Fiona Shaw) lives. It’s not a fun “overnight”, as Bea heads out the next morning to visit her papa (Krasinski) in what appears to be that same hospital, awaiting a “heart procedure” (perhaps a transplant). From there it’s back to Granny, who is really trying to connect. Bea’s restlessness leads to some exploration, and she spots a follows a neighbor from upstairs who seems to be breaking into a house across the street. But it’s no burglary, he’s retrieving a huge furry purple creature named “Blue” (voice of Steve Carell). Observing silently, Bea waits until they’re back home before pounding on an upstairs door. The occupant finally relents and welcomes her to the odd home he shares with Blue and a “bug lady” right out of an old cartoon, Blossom (VO: Phoebe Waller-Bridge). The “human” Cal (Ryan Reynolds) explains that he is charged with matching the IFs (Imaginary Friends) to new kids after their original matches have “grown up” and are unable to see them. Well, since she can see them, Bea offers herself as Cal’s partner. The next day, Cal reluctantly takes her to Coney Island where a secret IF retirement center exists beneath the old carousel. Bea is dazzled by the array of fantastical creatures, from a cloud to a unicorn to a life-size gummy bear. She has a new purpose, but will this adventure ease the anxiety about the possible fate of her only parent? And just why does Bea have this gift?
Ms. Fleming deftly handles a very complex role as the story’s main focus, Bea. Her biggest strength may be the fact that she isn’t afraid to make this heroine a touch abrasive at times, as she tries to push away any “talking down” to her, as Bea almost bypasses tween going straight to sometimes surly teenager. This is especially true when her pop tries to “soft pedal” his health issues and Grandma attempts to comfort her. Happily, her bonding with Cal and the IFs gives her a new zeal for life and brings out her compassion. Reynolds channels his charming persona and gives Cal an infectious adult “pixie” quality with a graceful body language reminiscent of the screen’s dancemen and clowns, combining bits of Gene Kelly and Buster Keaton. Almost as endearing is Krasinski as he tries to put Bea at ease with his infectious grin and wisecracks, shielding her from the situation much like Benigni in LIFE IS BEAUTIFUL. Shaw is also warm even as she’s frazzled and bewildered as she tries to find a way to bond while yearning for the tot that reached out for “Gammaw”. But Bea does bond with another hospital resident, the delightful Alan Kim as the battered (he seems to have at least three plaster casts), but somehow cheerful Benjamin. As for the vocal crew, Carell conveys a spirit of sweet joy as Blue. Ditto for Waller-Bridge who adds a bit of snark. The standouts of the “all-star” IFs would be the very funny Sebastian Maniscalco as Magician Mouse and the late great Louis Gossett, Jr. As Lewis the wise elder bear who becomes Bea’s trusted advisor and a true creature comfort.
To elaborate on an earlier comment, kudos to Krasinski for diving into the “deep end” of family flicks (he says he wants to make a story for his kids), and still tackling some often somber and somewhat dark subject manner (so despite that “PG” rating the hospital scenes might be too much for the more sensitive tots). Plus he’s gathered together some wonderful artisans to create these fascinating critters, embracing many types of styles. As I mentioned, Blossom could’ve been buzzing around Betty Boop, while Blue is Olaf the Snowman’s bubbly persona melted into the Grimace after he’s been zapped by gamma rays. A few have the look of a child’s scribbling like the bubble or the ice cube. I just wish that they generated more laughs. It’s not the fault of the cast, though this is Awkwafina’s third cartoon role in less than a year, as the script seems to be content for them to just bounce about and get involved in an indulgent dance number that stops the plot in its tracks. Krasinski is trying to celebrate the joy of pretending before the awful “real world” blinds them to the IFs, but he often pummels the heartstrings too much, especially in the maudlin third act that has a twist that’s telegraphed early and grasped by any fan of a late 90s cinema classic. Yet, it’s an interesting premise brought to life by some expert animation and art direction, but another pass at the script to tighten the pace and punch up the humor wouldn’t leave moviegoers wondering what IF.
3 out of 4
IF is now playing in theatres everywhere
