I'm sure M. Night Shyamalan have read some comics in his time. I sometimes wonder how many though.
His new movie Glass, For all its supposed insights into this genre, and what it means, has very little to say about superheroes, and absolutely nothing that could not be obtained from an informal scan of a TV Tropes site. There are no myths deconstructed, no shocking truths exposed, and hardly any tension at the visceral level. The signature sound effect of the movie is a ticking clock; While it has very little relevance to the story, it reminds you how slowly these 150 minutes pass.
To Shyamalan's credit, Glass is a very new way to combine two different movies into a mega franchise. His former movie, horror thriller Share, if a serial kidnapper who also suffers from dissociative identity disorder, ended with the revelation that it existed in the same fictional universe as Shyamalans super 2000 film unbreakable, And plagued a confrontation between the kidnapper – known by the comic book-y-name The Horde (James McAvoy) – and unbreakableHis reluctant hero, David Dunn (Bruce Willis). Glass do well on that promise and throw in a third character known as Mr. Glass (Samuel L. Jackson), an obsessive comic book fan with a rare condition that makes his legs extremely crisp and a taste to explain the comics to everyone he meets.
For reasons that Shyamalan probably wouldn't be spoiled, all three men hit a mental hospital under the care of Dr. Ellie Staple (Sarah Paulson), a psychiatrist who specializes in people with delusions that they are superheroes. Horde, Dunn and Glass are all first-rate candidates for her therapy, which play out for a long time – and I mean long – scene in the center Glass where she tries to convince them that they are not special, they are just crazy.
If Glass was a stand-alone movie, and the audience met these characters for the first time – if it were the one-of-a-kind-the-superheroes question felt like a legitimate mystery – it could work. But Glass is a sequel to not one, however two various movies that proved quite certain that these guys are quite special. Shyamalan has already shown us how strong David is and how Horde can climb with his bare hands. What is the point of convincing people and trying to convince them? Want to make a Superman sequel where Lois spends 45 minutes trying to gas light Man of Steel to believe he can't actually fly? It's really what Shyamalan is doing here.
Glass is a big step down from unbreakable, which is still one of Shyamalan's best-recorded films visually, structurally and thematically. The road unbreakable is shot – mostly for a long time, ahem, unused tar – emphasizes the things that are about. It is also mood and spooky and at the same time uplifting and depressing. Looking at it in 2019, it's obviously what the critics saw in the young Shyamalan and why he was compared to filmmakers like Spielberg and Hitchcock. The guy who made unbreakable justify these comparisons.
So where is it that guy in Glass? Shyamalan throws in some long shots and one or two bold camera angles. Else, Glass is perfunctorily shot – and flashbacks to the events to unbreakable (Using the movie from that movie) only serves to remind viewers of how interesting it was to look at and how this is mostly just … there.
It may be difficult for young people to imagine, but it was a time when a big movie that took superheroes was seriously a bold act. unbreakable was born into a world where just one (1) movie based on a Marvel cartoon had given $ 100 million. (The first X men, which opened in theaters about four months before unbreakable, summer 2000.) Glass Comes into a landscape where six of the ten largest films last year were about superheroes. These tropics are no longer mysterious or obscure; So why does Shyamalan treat them as they are still? It is a little striking to look at as signs must have things that the concept of a climax settlement between hero and villain explained to them. If Willis and Jackson didn't look 20 years older, you would swear Glass was set at the beginning of the turn of the century.
When we talk about Willis and Jackson, they are integrated into Horde's story quite difficult. There is a long stretch where Mr. Glass is not on the screen at all, and then a long stretch where David disappears. Meanwhile, McAvoy continues its go-for-broke performance Share like all Horde's 24 personalities. It would be nice if he could have saved one and given it to Paulson's character, driving the whole plot without a single motivation or recognizable human feeling to the late third act. She talks so much about the circumstances surrounding these particular individuals and never reveals why she cares about them until it's too late.
At this point, a number of twists and a tonally confusing epilogue have pushed Glass from medium shyamalan territory near low The event and The last Airbender. M. Night Shyamalan is a gifted artist, but like most characters in Glass he seems to have more identities, both good and bad, and you never know which one will show up. In case of Glass, it is the latter. When unbreakable came out, it really felt revolutionary. Given the visual and intellectual sophistication of the superhero films, Hollywood now throws out a regular clip, Glass just don't cut it.
Gallery – Great Comic Book Movies that have nothing to do with Marvel or DC: