A World Of Little Imagination

When I was a kid, I had a menagerie of imaginary friends that followed me wherever I went. We had made-up languages and customs, an entire world that just existed in my head and was acted out as a strange one-child show that surely looked like utter madness to even my parents. In short, I had a very active imagination. That imagination was my refuge in a strange childhood navigating divorced parents and mixing families. So it comes as no surprise that Jeff Wadlow’s new Blumhouse film Imaginary piqued my interest. And despite his best efforts, Wadlow’s latest shows only faint glimmers of what could have been, hiding behind a confused, trauma-obsessed plot that never quite sticks the landing.

The cold open shows promise as DeWanda Wise’s Jess runs from a man covered in blood and a spider demon. She jolts awake from her nightmare in bed with her new husband Max (Tom Payne) in their small apartment. Trying to cheer her up, Max says they should just move into their new house now, a fresh start for everyone. Importantly, this is Jess’s family home, bequeathed to her after her father was placed in assisted living. This house is meant to be a beacon of hope, a new chapter not just for Jess and Max, but for his daughters Taylor (Taegen Burns) and Alice (Pyper Braun), as well. All have undergone unspoken traumas that lurk at the surface of their subconscious, making them cautious of everything as they navigate this literal and figurative space. 

Quickly, Max leaves to go on tour and Jess is left with the kids, excited for much-needed bonding time. However, things start getting weird fast with Alice’s new teddy bear Chauncey, which she found in the dank basement. Something about Chauncey is sadly endearing, an abandoned stuffed animal that’s been loved a little too hard. But when the game he tells Alice to play gets physically violent, Jess realizes there’s something very wrong with her old house. But only with the help of her old babysitter Gloria (Betty Buckley) and the girls can she unlock her past and traverse the Never Ever. 

For a Blumhouse release, Imaginary is a surprisingly matriarchal film where several generations of women work together and form a sort of micro society when it comes to battling the supernatural. This isn’t investigated that deeply, though, outside of following Jess’s own journey navigating her new role as a mother. Wise throws herself into the role and really pulls what she can from a script full of stiff dialogue that never quite conveys enough warmth to feel authentic. 

After a few choice scares and convoluted world building about Jess’s father and her traumatic past, Imaginary finally hits its stride in the final act. Unfortunately, it’s too little too late. While the world of the Never After is gorgeously designed and some of the scares are downright delightful, we only get a glimpse of what could have been. Most of the film is instead dedicated to trying to build a trauma-filled world of broken characters who just need a friend. Particularly offensive is a single moment where the girls’ “crazy” mom escapes an institution, breaks into their house, and is quickly caught and thrown into the back of ambulance, never to be seen again. Her transgressions are never even mentioned outside of quick shots of a burn on Alice’s arm. It’s a film trying to follow in the footsteps of Smile, Insidious, and even M3GAN , but it ultimately borrows too many parts to be effective. 

Sloppy writing aside, one of the film’s biggest strengths is its dedication to practical effects. When the monsters grace the screen, it’s genuinely exciting to see their haunting forms scitter across the screen. Even Chauncey as the sweet teddy bear is perfectly designed to seem innocent yet uncanny. He’s not as obviously scary as Annabelle or Chucky, but that’s the power of Chauncey. He has the potential to be the next big cutesy horror villain. He just needs a stronger story.

Always glued to Chauncey’s side is Braun in a truly impressive performance. As a new actor, she taps into an incredible emotional range that elevates her character from creepy child to empathetic kid. It’s refreshing to see a kid have such depth and be more than an object to convey fear. 

Perhaps a sequel that leans more into fun and practical effects will elevate Chauncey to the next level. There’s a nugget of an interesting idea here, especially when it comes to the fantastical creature and world design. But the fun is concealed by a massive curtain of confused lore and murky trauma that misses the mark in creating a thoughtful commentary of the power of imagination. Chauncey needs to be a campy creature that speaks to the more dastardly sides of imagination, rather than a shallow commentary on healing. Justice for Chauncey!

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