2 (out of 4)
M. Night Shyamalan has been lowering the bar of his own brand since The Village silenced those citing him as Spielberg 2.0 fifteen years ago. But thanks to the more recent success of Split, the director's esteem seemed to be restored following box office profits and favorable reviews.
Split’s positive reception was confirmation that Shyamalan needed only a decent premise and a few respectable actors in order to have people salivating over his trademark class of thriller once again. The borderline offensive depiction of mental illness by a mugging James McAvoy (a proven actor just having fun yet still pissing me off) was really baffling given how much people complain every last thing nowadays. The bothersome 2017 flick needs the foremost focus considering Glass is less a trilogy capper beginning with 2000’s Unbreakable than it is a slightly more ambitious follow-up to Split.
The detriment of Glass is in spite of a strong continuation for the characters of Unbreakable (two-thirds of the film’s main cast with Bruce Willis and Samuel L. Jackson returning), the weak emotional tether is the loose connection between McAvoy’s multifaceted Beast and Anya Taylor-Joy's character from the film before. Glass also is and looks dirt cheap – Shyamalan's capacity to bore apart from his visual sensitivity is rather insane when accounting for the X-Men psychology and stripped superheroics.
The film’s philosophy of finding the space where supernatural horror and comic book tropes coexist is admirable and yet the film Glass on the extraordinary realism making Unbreakable so bleakly unique. Glass is the best thing Shyamalan has done this decade and nonetheless unforgivably bland and sterilized by an inevitable and uninspired triptych of last minute twists. Restraint has always marked the infamous director's most potent work – Glass finds Shyamalan indulging in his worst behaviors even if the results are more interesting than they've been in some time.
To keep it brief...
Soon to Come:
so many briefings