IF is John Krasinski's most emotionally ambitious film and his most uneven one. But when it works, which is more often than its mixed reviews suggest, it works because Krasinski trusts the audience to feel something genuine.

The film follows 12-year-old Bea, played with mature restraint by Cailey Fleming, who moves into her grandmother's apartment while her father undergoes heart surgery in the same hospital where her mother died years earlier. She is determined to seem older than she is, convinced that pretending she is not scared will somehow make her safer. This is a child's logic, and the film takes it seriously rather than mocking it.

Through a neighbor named Calvin, played by Ryan Reynolds with his trademark mix of humor and barely suppressed sadness, Bea discovers that imaginary friends are real. They are called IFs. They exist in a state of gentle limbo after their children grow up and forget them. Calvin has been trying to find new children for them, but something about the process is not working. Bea turns out to be the key: she can see IFs when most adults cannot, and her empathy for forgotten things gives her a special ability to help them reconnect with the grown-ups who left them behind.

The premise is as inventive as it sounds, and the visual execution is strong. The imaginary friends range from a giant purple bear named Blue (Steve Carell) to a butterfly-like creature named Blossom (Phoebe Waller-Bridge) to an elderly teddy bear named Lewis (Louis Gossett Jr., in his final film appearance). Their Memory Lane retirement home, housed under a Coney Island amusement ride, is one of the film's best ideas.

What the film struggles with is focus. The IF roster is so large and the celebrity voices so distracting that the emotional throughline sometimes gets lost in spectacle. Amy Schumer voicing a giant gummy bear and Jon Stewart playing a spy-character IF are creative choices that exist primarily as jokes rather than emotional anchors. The film would have benefited from fewer imaginary friends and more time with the ones who matter most.

But the core story never loses its footing. Bea's relationship with her father, played with quiet heartache by Krasinski himself, is the emotional engine of everything. This is a film about a child who has already lost one parent and is terrified of losing another. The imaginary friend adventure is the mechanism Bea uses to process that fear. When the film stays focused on this, it is genuinely moving.

Krasinski handles grief with the same restraint he brought to A Quiet Place. Nothing is over-explained. Bea does not give a speech about her feelings. Her fear is visible in how she behaves rather than in what she says. This is good filmmaking regardless of genre. The scene where her grandmother Margaret reconnects with her own childhood imaginary friend by dancing to an old record is the film's finest moment, and it earns it because the emotional setup has been patient and specific.

Louis Gossett Jr.'s final performance deserves particular mention. As Lewis the elderly teddy bear, he is warm and wise without being sentimental. He is the IF who understands that imaginary friends might not need new children at all — they might just need to reconnect with the grown-ups they once belonged to. For a film about the value of childhood imagination, having Gossett as the voice that articulates the film's thesis is a beautiful piece of casting. He will be missed.

Conservative families will find IF is exactly what it advertises: a sincere family film about childhood, grief, and the imagination that helps children survive difficult things. It has no political agenda. The father-daughter relationship is its heart. The film believes in imagination not as escapism but as emotional honesty — a way children tell the truth about what they feel when they cannot find the words.

Trope	Category	Location	Authenticity
Father-Daughter Bond	TRADITIONAL	Throughout — Bea's entire emotional journey is shaped by her love for her hospitalized father and her terror of losing him; their relationship is the engine of everything	Authentic. Krasinski cast himself as the father, which adds a layer of real-life parental investment. The father-daughter dynamic is drawn with care and specificity — not generic father-love but a particular man and a particular child. Strong traditional content.
Defense of the Innocent	TRADITIONAL	IF retirement home arc — Bea takes on the cause of the forgotten imaginary friends with no personal benefit; pure compassion for neglected, vulnerable beings	Authentic. Bea's impulse to help the IFs is the film's moral core. She is not asked to do this. She chooses it. The film presents this as natural and admirable without turning it into a lecture.
Childhood Resilience	TRADITIONAL	Bea's arc throughout — a child facing real loss who processes it through imagination rather than avoidance; the resolution requires her to actively engage with her fear rather than hide from it	Authentic. The film is clear that imagination is not escapism — it is how Bea tells the truth about her fear. She is not running from grief; she is working through it in the way children do. This is a healthy model for children dealing with difficulty.
Intergenerational Bonds	TRADITIONAL	Margaret (grandmother) subplot — the grandmother and granddaughter relationship provides warmth and context; Margaret reconnects with her own childhood IF, demonstrating that imagination is not something to be left behind	Authentic. The grandmother sequence is the film's emotional peak. The relationship between Bea and Margaret is specific and loving without sentimentality. Grandparent-grandchild bonds are presented as rich and important.
Grief Handled With Dignity	TRADITIONAL	Throughout — Bea's dead mother is an absence that shapes the entire film without being exploited for manipulation; the grief is real but handled with restraint	Authentic. Krasinski consistently treats grief as something to be acknowledged and worked through rather than performed. This is one of the marks of his filmmaking — emotional honesty without sentimentality.
Progressive Celebrity Voice Cast	WOKE	IF voice cast — Amy Schumer, Jon Stewart, and other progressive public figures voice imaginary friends in supporting roles	Trace-level. The political identities of these celebrities are irrelevant to their characters. Schumer plays a gummy bear. Stewart plays a spy-type character. Neither role carries any political content. Celebrity politics and film content are separate categories here.
Culturally Diverse IF Roster	WOKE	The imaginary friends collection includes characters of varied cultural and aesthetic origins — a conscious choice to represent diversity among childhood imaginations	Mild and organic. Children in diverse cities do create imaginary friends from varied cultural backgrounds. This is not a political statement so much as a practical representation of what childhood imagination looks like in a multicultural setting. Low impact.