One of the more bizarre trends we see year after year in cinema is the attempt to create a new franchise based around live-action, family-friendly entertainment that doesn’t rely on existing cinematic properties or material that is already quite popular in its own right. Usually, this involves adapting cherished childhood storybooks that are marketed to both the original readers from previous decades, as well as the offspring that will undoubtedly be coerced into travelling down memory lane with their nostalgic parents. However, the more intriguing are those that are entirely original, such as in the case of John Krasinski and his endeavour to bring IF (alternatively titled Imaginary Friends is the unofficial capacity, likely an effort to remove any similarities with the misguided horror film released this year that goes by a similar title) to life. The film tells the story of a young girl who has grown cynical as a result of going through her pre-teen years, as well as the sadness she feels after losing her mother at a young age as well as dealing with her father’s critical heart surgery. Plunged into a state of depression, she soon finds herself surrounded by mysterious beings, the “IFs” that previously belonged to people when they were children, but were forced into retirement after their friends grew up and forgot all about them. Assisted by a crew of retired entities, our protagonist sets out to pair these aimless beings with children who will appreciate them – and as expected, the most lovable shenanigans ensue as a result. It is not the most original film, nor one that offers anything we haven’t seen several times before, but it still features a lot of charm and eccentricity, enough to be mostly quite endearing, IF is about as lovely as it could be, taking a few well-calculated risks and ultimately delivering almost exactly what it promised, even if the scope with which it was working was slightly too simple to leave much of an impression outside of the younger viewers who will most certainly be captivated by its bright images and heartful story.

To call IF entirely original is not quite accurate – Krasinski and his cohorts might claim it is bespoke. Still, the similarities to the brilliant animated series Foster’s Home for Imaginary Friends are too obvious to entirely overlook, with this film often following a similar tempo, both in terms of tone and narrative. However, whether or not it was inspired by this popular show, or is earnest in its assertion that it is unique is not particularly important, since there are qualities in this film that do earn our admiration, even if only incidentally. The director was trying to make a film appropriate for children since his previous outings were restricted to the well-received A Quiet Place and its sequel, as well as two small-scale independent comedies that received a small amount of praise but otherwise didn’t make much of an impression. This is one of his biggest and most ambitious productions to date, so it’s difficult to not at least appreciate the effort, as well as the feeling that it was entirely well-intentioned, being one of the rare instances where we can believe a film of this scope was made not to only turn a profit, but be a genuinely moving experience for younger viewers. To his credit, even though he remains slightly untested as a director of other genres, Krasinski does well enough with the material to earn our trust, but an important realization that every adult viewer needs to make is that IF is not necessarily made for us, and our potential enjoyment is only a bonus rather than the primary intention. Instead, this is a film squarely made for viewers who still perceive the world as being a place in which magic is real, and the delightful approach to the story, coupled with some exceptional world-building, creates an enchanting and memorable version of reality that is genuinely very appealing, especially to those who can suspend disbelief for 100 minutes and simply surrender to the peculiar charms that drive this film and make it so incredibly captivating at even the most uneven of moments.

Krasinski has been in the business for long enough to amass quite a roster of friends, colleagues and acquaintances since his ability to hold court in both films and on television has stood him in good stead when recruiting actors for his films. IF features a trio of terrific actors in the live-action segments, particularly Cailey Fleming as the protagonist Bea, delivering one of the rare examples of a child performance that doesn’t need to be annoyingly precocious or ahead of her years to make an impression. Ryan Reynolds plays the same kind of wisecracking but well-meaning eccentric but dials it down to be genuinely quite endearing, while the always brilliant Fiona Shaw is wonderful in her small part, and you would not be an outlier if you were to suggest that the film should have focused on the dynamic between the grandmother and her grandaughter far more prominently. However, its the voice cast that is so impressive, which is where we see the director calling in favours from some of the biggest stars in film history. The list of voices scattered throughout this film is incredible, and their participation (while not integral) does lend the film a lot of credibility. Listing all the names is impossible, but we can at least point out a couple of highlights, especially Steve Carell, whose distinctive voice is a perfect match for the hulking character of Blue, whereas the dearly departed Louis Gossett Jr. is the epitome of sophistication and heartfelt nostalgia, playing the tattered but poignant emotional heart of the film. The majority of these performances likely didn’t require more than an hour or so in the recording studio but yet they’re always very well-rounded and meaningful, even if only appearing on screen for a few moments. It’s a rich, diverse cast that is certainly one of the most star-studded ensembles of recent years, which lends the film a sense of grandeur that may not be particularly subtle, but still indicates the incredible promise simmering beneath the surface of the film.

However, while my opinion on IF does veer more towards the positive (especially after watching it with a five-year-old, with his admiration and love for the film being infectious, or at least the energy exuding between the two is somewhat impossible to ignore), it is clear that this is a film that has many imperfections, which prevent it from truly achieving the brilliance it seemed to be intent on showcasing. The main problem with IF is that it is deeply manipulative in a way that becomes quite troubling after a while. We realize midway through the film that there isn’t a story – none of these characters has arcs, and the development of the story is almost non-existent, with the plot consisting of a series of lengthy comedic sequences that are entertaining in real-time, but eventually proves to be slightly tedious after a while, something that even the younger viewers will begin to pick up on when they realize the story isn’t heading in any discernible direction. Yet, this didn’t at all disqualify the film from still trying to pluck at the heartstrings in as unsubtle a manner as possible – whether it the trite, conventional storyline that has all the emotional beats you would expect or Michael Giacchino’s sentimental score that accompanies many of the film’s most integral moments, IF is the kind of film that seems to be relishing in the knowledge that the viewer will fall victim to its overt sentimentality. The only aspect keeping this from being insulting is that the film makes it very clear that it has nothing necessarily to gain from forcing an emotional reaction, and instead, it is attempting to draw out these sensations that are so integral to the story, since this is supposed to be a homage to the childhood of every viewer, whether they are currently going through it or look back on it fondly. It becomes clear that much of the film needs the viewer (mostly those veering towards adulthood) to be entirely invested in what we are seeing on screen, which proves to take quite a bit of effort – but if we can overlook these qualities and instead focus on the more distinctly unique elements, IF becomes a far better and more meaningful film, for several reasons.

There are many merits to IF, a film that has the purest of intentions but an execution that leaves a few qualities to be desired. Krasinski is still developing his voice as a filmmaker, and therefore he isn’t quite sure of the kind of director he intends to be just yet, but he is growing to prove to have an abundance of talents, they simply need to be filtered into something more cohesive and meaningful before we can proclaim him a true, natural-born talent behind the camera. Regardless, IF shows someone who has a lot of audacity, enough to leap into the unknown, crafting an original, expansive fantasy film that doesn’t depend on existing properties or any material with which viewers are previously familiar, and crafts a very special film. It isn’t immune to flaws, and there are several shortcomings, usually relating to the execution of some of its ideas and the film’s tendency to be overly emotional and perhaps slightly too obvious in its message, but it is ultimately still a strong effort that will enchant younger viewers as well as delighting those who are willing to suspend disbelief long enough to see the value in this film. It’s a nostalgic, colourful excursion into the best possible version of our world, one in which everything is brighter and far more positive, and where each one of us has a companion that is with us until the very end. Despite being quite overwrought, the intentions behind IF are too strong to entirely dismiss, and we find that the film grows to be quite meaningful after some time. It doesn’t manage to iron out all of its flaws, but it is mostly a very charming, lovable film that is targeted at a specific demographic and manages to be magical enough to appeal to them, which ultimately proves that it had enough merit to overcome some challenging obstacles, flourishing into a delightful and heartfelt comedy that makes us truly believe in magic, even if only for a fleeting moment.