‘Imaginary’ Review: A Baseline Blumhouse Horror Affair

Imaginary marks Blumhouse’s second theatrical release of the year so far, the first being the incomprehensible Night Swim back in January. Both films have (thus far) received overwhelmingly negative reception, representing an incredibly tough first quarter of 2024 for the regularly revered studio. Yet Imaginary certainly isn’t as bad as Night Swim and, despite its clear flaws, should reassure horror fans that Blumhouse isn’t just cashing in on concepts. There is a real story to be told here, even if it’s muddled in inconsistent direction and jumbled writing.

Jeff Wadlow is in respectable form here, at the least. Imaginary is a far cry from other efforts of his, such as Fantasy Island, or Bloodshot. Here, he digs into a compelling concept and tries to execute a full-on horror blockbuster. The film feels like it’s trying to impress beyond itself, to make a statement in the mainstream and go down as something that means something. 

The story follows far too much to be easily simplified (the official synopsis is two paragraphs long) but on a basic level, it’s a tale about a little girl who starts talking to an imaginary friend. It’s a harmless dynamic at first, but quickly evolves into something malignant, beyond her own and her parents’ control. From there, it’s total chaos. If you go in knowing the bare minimum, the constant sharp storytelling turns may provide a little thrill. It isn’t anything you haven’t seen before, but towards the final act, things get so absurd that you’d be remiss not to let go and have some fun with it.

That’s where Wadlow shines the most. The last 30 minutes of Imaginary is the strongest stretch in the film, filled with plenty of imaginative ideals and creative visuals, all jam packed into a dizzying, non-stop horror fest. It’s all still quite derivative, save for the specifics such as creature and set design, but it works well in jettisoning off as a notable portion of the film that nearly makes the previous two acts worth the grueling wait. Nearly, unfortunately, is the key word.

Imaginary is a hit and a miss; a fair ball, right down the middle, and no more either way.

It feels like all of the fuel was dumped into the last act, leaving the first two to break down before they can manage to get you there on their own merits. There are tidbits of decent world building as the story trudges along, but it often becomes so needlessly complex. Details are painfully shoved in between scenes already loaded with exposition and obvious hints for what is to come, so that by the time the twists do come to fruition, you’re less impacted by them than you should’ve been. A few are genuinely clever on paper, too; it’s a real bummer.

When you top that off with shoddy dialogue and (mostly) up-and-down performances, it’s a hard buy for those outside of the horror circle. Further, what Imaginary does best will probably appeal mainly to the horror folks, and pass by without much interest to most others. There are stellar uses of practical effects here; self-aware, madhouse effects that are reminiscent of some of the most beloved historical proclivities the genre has ever known. Horror fans will take definite delight in that aspect, and taken in tandem with that third act, this may be worth it for that crowd.

Otherwise, your interest in Imaginary will vary on a case-by-case basis. There isn’t anything especially compelling here that’ll drive you to the theater, unless you’re just particularly hungry for new horror. Wadlow and the Blumhouse crew deserve credit for taking a swing and exhibiting confidence in a somewhat unconventional experience on the whole, but it just doesn’t fully come together in the end. Imaginary is a hit and a miss; a fair ball, right down the middle, and no more either way.

Imaginary is now playing in cinemas worldwide.

FOLLOW US ON SOCIAL MEDIA

• Facebook
• Instagram
• Twitter
• YouTube
• TikTok