I do not know if since 2000, when he released "Unbreakable," M. Night Shyamalan had these two questions in his head: "What if the world really had superheroes? How would they be?" When launching the great "Split" two years ago, however, it seemed increasingly clear the director's idea of creating his own trilogy of original superheroes in an industry where much of the revenue has come from the adaptations from the Marvel and DC Comics.
Now that "Glass," the third volume of his story hits theaters, the feeling that remains is that of frustration. Between the irony and the attempt to build a mythology of its own, Shyamalan got lost in the middle of the road in a film that leaves much to be desired and with a script that did not know where to go.
"Glass" would win more if it revolved around the irony that Shyamalan tries to create in different parts of the film. The way he mocks superhero stories, as he jokes about Marvel (quoted from the cover of a magazine) and the scripts of these same movies and the comics themselves. Mainly from the obsession of Mister Glass (Samuel L. Jackson) on the subject.
But irony requires subtlety and the final third of the film is driven so heavily by the director that he loses his hand and turns everything into a caricature. And, worse, it takes itself seriously to create a whole new mythology in what would be its history of particular origin from a group commanded by Dr. Staple (Sarah Paulson). Maybe that was even her intention. But I think it did not work out well.
In the midst of all this, even the brilliant work of James McAvoy, making a man of 24 such different personalities is kind of lost. Much of the strength of his character is erased by turning him into a mere doormat of Glass, the eternal antagonist of Vigilante (Bruce Willis).
In fact, the three main characters are apathetic and without any chemistry. But worst of all lies in the stillborn presence of the three characters who are the right arms of the three protagonists. Casey (Anya-Taylor Joy), the survivor of the Beast's captivity, Joseph (Spencer Treat Clark), son of Dunn, and Mrs. Price (Charlayne Woodard), Glass's mother, figure out from nowhere to anything in poor interpretations.
Finally, we have a whole plot in a psychiatric hospital that works just like a smoke screen for a group of people about whom nothing is known. An interrogation that Shyamalan leaves in the air for what is perhaps a future project, but which also kills the proposal that was tried to take between the discredit and the acceptance of the powers. There is an attempt of several plot twists that do not work in no time.
And with that, "Glass" walked to a big disappointment. A delirium of Shyamalan who had everything to succeed at the end of "Split". That generated expectation. But whose result almost thwarted how many director's bad works.
Now that "Glass," the third volume of his story hits theaters, the feeling that remains is that of frustration. Between the irony and the attempt to build a mythology of its own, Shyamalan got lost in the middle of the road in a film that leaves much to be desired and with a script that did not know where to go.
"Glass" would win more if it revolved around the irony that Shyamalan tries to create in different parts of the film. The way he mocks superhero stories, as he jokes about Marvel (quoted from the cover of a magazine) and the scripts of these same movies and the comics themselves. Mainly from the obsession of Mister Glass (Samuel L. Jackson) on the subject.
But irony requires subtlety and the final third of the film is driven so heavily by the director that he loses his hand and turns everything into a caricature. And, worse, it takes itself seriously to create a whole new mythology in what would be its history of particular origin from a group commanded by Dr. Staple (Sarah Paulson). Maybe that was even her intention. But I think it did not work out well.
In the midst of all this, even the brilliant work of James McAvoy, making a man of 24 such different personalities is kind of lost. Much of the strength of his character is erased by turning him into a mere doormat of Glass, the eternal antagonist of Vigilante (Bruce Willis).
In fact, the three main characters are apathetic and without any chemistry. But worst of all lies in the stillborn presence of the three characters who are the right arms of the three protagonists. Casey (Anya-Taylor Joy), the survivor of the Beast's captivity, Joseph (Spencer Treat Clark), son of Dunn, and Mrs. Price (Charlayne Woodard), Glass's mother, figure out from nowhere to anything in poor interpretations.
Finally, we have a whole plot in a psychiatric hospital that works just like a smoke screen for a group of people about whom nothing is known. An interrogation that Shyamalan leaves in the air for what is perhaps a future project, but which also kills the proposal that was tried to take between the discredit and the acceptance of the powers. There is an attempt of several plot twists that do not work in no time.
And with that, "Glass" walked to a big disappointment. A delirium of Shyamalan who had everything to succeed at the end of "Split". That generated expectation. But whose result almost thwarted how many director's bad works.