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M. Night Shyamalan finally gets to finish the story he began with Unbreakable almost twenty years ago. In Glass, Bruce Willis returns as David Dunn, who has never been hurt, while Samuel L. Jackson once again plays the comic book-obsessed, would-be villain Elijah Price — better known as Mr. Glass. They collide with Split’s Kevin Wendell Crumb (James McAvoy), a.k.a The Beast, and Casey Cooke (Anya Taylor-Joy), setting the stage for a unique superhuman showdown.
As Dunn and The Beast clash, Mr. Glass orchestrates their battles from the sidelines. Shyamalan takes us to entirely new territory as he explores his darkly realistic world of heroes and villains. You’ll look at comic books in a totally new light after coming face to face with Mr. Glass.
- Bruce Willis
- James McAvoy
- Samuel L. Jackson
- Sarah Paulson
- Anya Taylor-Joy
- Spencer Treat Clark
- Charlayne Woodard
- Adam David Thompson
- Luke Kirby
Atom User Reviews
This is why M. Night Shyamalan gets so much hate. He makes great movies and disappointments. Split was amazing. Unbreakable was amazing. This was somewhat of a letdown. It was suspenseful but also boring. Reminded me of the village.
I'm not real sure how to feel about this movie. I liked it okay, but it was real slow to get to the point, and I think that I would have to see it again before I have a full opinion. I waited years for a sequel to Unbreakable, but I'm not sure this was the sequel we were looking for.
As a trilogy-closer, it's a mixed bag, tying earlier narrative strands together pleasingly while working too hard (and failing) to convince viewers Shyamalan has something uniquely brainy to offer in the overpopulated arena of comics-inspired stories.
Despite the pyrotechnics of McAvoy’s performances and Willis’s grounded conviction, there’s just not enough here past the high concept of “what if real people were superheroes?”.
It’s also hard not to judge it against the movie it might have been. In 2000, Unbreakable felt like an anomaly, a superhero movie that steered clear of camp and dug into the genre’s bedrock. It could have been thrilling to extend that approach into 2019, where superheroes storm the multiplex on a monthly basis, and there’s no longer a need to laboriously explain the culture behind them. Unfortunately, it seems that laborious explanations are the part Shyamalan likes. He’s the evil mastermind detailing his plot for world domination, knowing that the villain’s monologue is a terrible cliché but unable to resist the urge.