I’ve always had somewhat of a loyalty problem with M. Night Shyamalan. As in, I tend to like most of the things that he creates, even if the reason I like them is simply for their original plots.

With Split, Shyamalan sets a scene that is super unusual, and even if it’s not super scary, I have to respect him for setting up a story that few people could pull off.

Split begins with three high school girls at the end of a birthday party. The birthday girl and her friend are in the process of begrudgingly giving their estranged classmate, Casey (Anya Taylor-Joy), a ride home when a stranger (James McAvoy) gets in their car. Drugging them and taking them to an undisclosed location, the man refuses to tell them anything about where they are or why they’re there. But something is wrong with this man beyond his abductive tendencies. The next time they see him, the original tough guy that they dealt with has the mannerisms, high heels and clipped British accent of a middle-aged English woman. We soon learn through his sessions with therapist Dr. Fletcher (Betty Buckley, who you might recognize from Carrie!) that this man, Kevin, has 24 separate personalities. In interacting with the girls, we are shown three of the personalities who aren’t typically allowed to shine. The girls therefore need to do their best to use this to their advantage, and see if they can escape before the 24th personality, “The Beast,” emerges.

I’ve gotta give Shyamalan credit for being a true auteur. Shyamalan’s style is always 100% his own: that blend of human realism that borders on comedy, coupled with unsettling truths that are revealed to the characters until a final plot twist. He stays true to form with Split, though you might not expect the final flourish to his twist at the end.

What works: I think that the acting in this was pretty impressive. McAvoy does a splendid job as the multifaceted Kevin, bringing a convincing performance as each character, down to 9-year-old Hedwig (who is, for some reason, a boy and not a girl despite the name?). Anya Taylor-Joy did a good job as Casey as well, a character who has dark secrets that explain her quiet, isolated nature. Cinematography, as always, is lovely, and Philadelphia gets a nice little shout-out as each of its notable locations from the Art Museum to 30th St. Station are highlighted with loving care.

I think the story, too, is an interesting one, though it reminded me of all the objections that came up against the movie Lucy when that one came out. The film science argues that someone with Disassociative Identity Disorder (and THANK YOU M. Night for finally differentiating between this and schizophrenia) can mentally create conditions and traits that can manifest themselves physically. We revisit that whole argument, once again, that humans only access a portion of their brains, blah blah blah. But still, it taps into the suspicion that we’re all stronger than we think we are, and the powers of belief and of trauma. What can your brain do to ensure your body’s survival?

What doesn’t work: as I mentioned earlier, Shyamalan has this amazing ability to bring humor to thriller, but it’s almost to a fault with this movie. I’m not sure if the creep factor was lowered because I’d seen the trailers so many times or because the audience I saw it in kept laughing, but scenes that were supposed to make your hair stand on end had most people near me giggling. An unfortunate side effect of showcasing someone with DID is that sometimes the performance reads as a caricature, which tends to toe the line between creeptacular and just plain funny.

I also had a bit of impatience with this film (I know, act surprised). The present action is intersected with bits of Casey’s brutal past, which are drug out presumably to explain why she reacts the way she does to certain situations. In some circumstances though it just drags the movie out. There are about six scenes that feature her childhood when there really only need to be three — four, tops.

Another lost opportunity is the fact that this guy has 24 personalities — 24 PERSONALITIES. And we only get to see four of them!? Talk about a wasted opportunity.

For fans of Shyamalan’s previous movies, the ending might be an especial treat, but for this critic it mostly left me confused.

All in all, it’s not a bad movie, and again I give Split points for originality. However, I walked into the theater thinking I was going to be scared and I wasn’t, really. The film reads almost more as a mystery, as so many of his others do, but lacked a lot of the visceral fear that I was hoping to feel.

6 outa 10. No nightmares here, kids.