The first time Samuel L. Jackson appears UnbreakableM. Night Shyamalan's film about the super-heroic story that darkens with moody, is a rhapsody about comic books, with all of Jules Winnfield's command reserved for imaginary biblical verses. The cartoons are a true art, and not just for children, take the character of Jackson, Elijah Price, a collector with extremely fragile bones that, in a classic twist of Shyamalan, prove to be the criminally critical killer of the film – Glass, as his childhood colleagues called him. Many things have changed, of course, in the two decades since the director-writer tried to prove his villain's thesis, to make the opposite of the fighting fighter who took the genre seriously. Superheroes are now the dominant force of Hollywood entertainment. No one should be told that they are not just for children.
If Unbreakable was ahead of the curve, reaching just like the top of the superhero movie boom, then the new sequel to Shyamalan, Glass, is perverse and even admirable from the step. Like a lot of modern superheroic stories, it takes place in a common "cinematic universe" – what is to say is not just a follow up Unbreakable but also the last film of the director, the thriller with several personalities cleave, whose twist finality has offended any possible distancing between the main attractions of both images. But, beyond the franchise union, no one would have mistaken this riff, often wicked, sometimes intelligent, on head-to-cock myths, which only show action movements, few special effects, and even fewer locations – for anything on the Marvel assembly line. For better and worse, it is undoubtedly a Shyamalan movie, with all the plot and a robust, idiosyncratic scene that generally involves.
M. Night Shyamalan
Bruce Willis, James McAvoy, Samuel L. Jackson, Sarah Paulson, Anya Taylor-Joy, Spencer Treat Clark, Charlayne Woodard
Theaters all over January 18
She let it rot in a lined cell under strong sedation from the events in Unbreakable, Ilie Jackson – a mass murderer who has created disasters to remove his heroic contradiction – does not appear until the second act of Glass. His old friend, indestructible David Dunn (Bruce Willis), has continued to work for over 20 years, executing daily a home security business, using his supernatural intuitive powers to hunt bad boys at night. The film opens with David, whom the internet has named The Overseer – just a nickname he has won in his years of judicial vigilance – looking for Kevin Wendell Crumb (James McAvoy), the serious schizophrenic serial killer Cleave. Once struggling to control the "world," the different personalities of Splinter's mind now respond most to the most omicidal: "Beast," a monstrous alter ego that seems to give Kevin super-human power or agility whenever he is in the driver's seat.
Not long before these forces of good and evil collide. But no sooner, David and Kevin find each other than the two captured and placed together with Elijah, under the supervision of Dr. Ellie Staple (Sarah Paulson), who specializes in studying who suffers from what he essentially describes as being a superhero complex. Most of them VoiceIn this unique setting, an Arkham Asylum less baroque, where the doctor tries to convince three living archetypes that their powers are all in their head. Operating again in a similar way to a B-film mode, Shyamalan condenses the genre to its psychodramatic essence: the great play here is not a battle but a group therapy session. MCU has greatly transformed the superhero cinema into a clash of personalities, but Glass, which is somewhat smaller and worse than Unbreakable, does this literally – especially in the case of the "Hordei," the cult of the next day in Kevin's head, carrying his own Civil war to control their shared secret identity.
McAvoy, by the way, kills her again. There is no small return to his vocal and physical force tournament, throwing money from one distinct character to another. No wonder this Glass, like Tim Burton's films Batman, is more interested in his boys than the good ones, especially once Elijah returns to life, awakened as The Joker in The dark knight is back by the reappearance of his opponent? For how much the genre drops down – this is a superhero film that takes place mainly inside a building – Shyamalan draws attention to the pulp. More than medieval custody, it has a style compatible with the exaggerated visual language of comic stripes: Working again with the cinematographer Mike GioulakisIt follows), the director uses unusual silhouettes, reflections and angles to render the panel with the environment panel, while the color code of his main trio is represented by suggestive shades of green, purple and orange. One is reminded of why Shyamalan has once won comparisons with Spielberg and Hitchcock: Like those story craftsmen in the pop craft, every shot makes an event.
As a writer, however, he can be remarkably embarrassed. Unlawfully linking the plots and mythologies of the two previous films, his scenario for Glass is struggling to balance the distribution of characters, including adolescence cleave survivor Casey (Anya Taylor-Joy) and David's son David, Joseph (Spencer Treat Clark, resuming a role he played 20 years ago). Most critical, Shyamalan does not seem to realize what to do with his hero – and by extension, with Willis, more and more worried, whose sleepiness serves only to emphasize the subtle subtlety of his work in the first film. It's true in general Glass, which keeps memories of triggering Unbreakable– very flagrant, in fact, reproaching scenes she deleted as flashbacks, a device often clever – without getting close to his power. In retrospect, the thriller with deliberate rhythm, labeled as a disappointment after the overwhelming success of The sixth Sense, looks like Shyamalan's most resonant entertainment. He found a stirring human story, one about the need for purpose and meaning, in the standard discovery – your arc powers from a comic book story.
There is nothing to affect so much about complicated results Glass, whose generic training to believe in what makes you feel particularly airy The Incredibles. a very different postmodern supermodern story. Everything strengthens in a reversed revolution and a bizarre, almost abstract, climate when Shyamalan eventually offers a small conventional bam-pow show just to subdue it with what feels like a parody of UnbreakableThe explicit comment of the cartoon narrative: Here, everyone seems to have gathered Ilie's annoying habit of explaining the super heroic storytelling mechanic out loud. Perhaps there is a suggestion of satire in this choice – a digging out of the cultural ubiquity of these things, the absurdity of analyzing them too much, or how Elijah's defense of comic strips as a serious means now sounds from every corner of the web . Or maybe it's just a bad writing. Anyway, Glass, for all its defects, at least destroys any notion of how a superhero film should work. With more of these coming each year, it's a dignified achievement, at least, of a Sam Jackson monologue.