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By Thomas Puhr
In his best film since 2002’s Signs, Shyamalan takes a conceit that is excessively used as a twist ending (a main character having multiple personality disorder) and
instead makes it the foundation for his tale of three girls (headed by Anya
Taylor-Joy) who are abducted and terrorized by a man (James McAvoy, attacking
the role with relish) with 23 personalities; especially noteworthy is a final
confrontation that is by turns genuinely-unsettling and oddly-touching (echoes
of Blade Runner here); the requisite
twist actually enriches the story preceding it, announcing what could be a more
ambitious and experimental phase in Shyamalan’s career.
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