'Glass' Review

David Dunn now runs his own home security store while moonlighting as a brutal vigilante in a green poncho, referred to as "The Overseer." After tracking down and subsequently tussling with Kevin Wendell Crumb, the pair are placed in a psychiatric hospital. Supervising and studying them is Dr. Ellie Staple who specializes in a very particular illusion of grandeur... this who believe they are superheroes. They're not alone though, also under Staple's care is a heavily sedated Elijah Price. As the trio grow wary of their situation, plans are put in place for some orchestrated chaos. 

Since it's been two years, I'm going to write this review with the assumption you're aware of the end-twist in Split... 

**Spoiler Warning for Split**

That being, Split was secretly set in the same universe as M. Night Shyamalan's Unbreakable. Written and directed by M. Night Shyamalan, Glass is simultaneously a sequel to Unbreakable and Split, bringing those characters together for an exciting culmination. Now, Shyamalan's had a turbulent career as a writer/director, to say the least... His successful streak of The Sixth Sense, Unbreakable, and Signs was immediately followed by a series of critical and/or commercial duds. Eventually, it appeared as though Shyamalan had overcome that unpleasant portion of his filmography with an apparent resurgence via The Visit and Split. Needless to say, Glass will be probably his most polarizing film yet.

I can totally understand why someone would leave the theater loving or hating Glass. The expectations for Glass are surely through the roof considering Unbreakable fans have waited nineteen years for a sequel and Split only amplified that fan fervor by teasing that precise possibility two years ago. Some people were bound to leave disappointed regardless of what Shyamalan did. Glass is certainly not perfect, as Shyamalan's inconsistency as a filmmaker does ultimately prove a tad troublesome, but I viewed it as a fascinating deconstruction of the modern superhero movie.

Though certainly not subtle about it, Shyamalan subverts genre tropes audiences have come to love in their Marvel and DC comic-book film adaptations and provides commentary on the genre regarding its predictability and rigid story structure. This deviation from the perceived norm of a superhero story will undoubtedly upset many, but I perceived it as a refreshing change of pace. A deliberately slow-paced second act followed by some specific revelations in the third act also won't work for some, but I was riveted and entirely onboard for it all. By the way, I'd highly recommend seeing (or even rewatching) both Unbreakable and Split beforehand, as Glass operates as though the viewer is already familiar with both predeceasing films and doesn't waste much time catching up new audience members. Glass does at times seem to be serving too many masters in trying to be a satisfying follow-up to Unbreakable and Split, but ultimately, the characters, tone, and sensibilities of those films coalesce quite well. At the start, it does noticeably seem to jump back-and-forth from being an Unbreakable sequel to a Split sequel. It takes some time, but it did gel eventually, and I was particularly pleased with one late revelation which tied everything together very efficiently. 

Regarding other issues, there are some elements which carried over from Split that still didn't work for me such as The Beast. I'm sorry, but The Beast looks so ridiculous when he's running around on all fours, climbing walls, and even when he speaks due to McAvoy's facial mannerisms. It's laughable to be totally honest, and I can assure you that's why awards voting bodies didn't grant James McAvoy serious awards consideration for Split. There's one plot device in particular which seemingly exists to best showcase McAvoy's acting ability as he'd rapidly switch between the twenty-four personalities as the story demanded. It's impressive, but obviously around for that purpose in select scenes. 

Otherwise, my eyeballs were glued to the screen as cinematographer Mike Gioulakis masterfully lit the colorful costumes and vivid scenery. Despite being made on a $20 M budget self-financed by Shyamalan, Glass' production value is top-notch. I'd like to particularly highlight the crushing sound design and West Dylan Thordson's wide array of intense accompaniment. As per usual, Samuel L. Jackson is excellent as the titular character (though it could be debated he's not the lead or protagonist). Jackson convincingly communicates the genius mind and shattered vulnerability of Mr. Glass as he previously did in Unbreakable. In my eyes, he really stole the show as a mesmerizing mastermind, though I can see why some might point to James McAvoy as the prime performer.

On the subject of McAvoy, he once again provided splendid portrayals of Kevin's twenty-four plotting personalities (which I'll further refer to as "The Horde"). Though I still find The Beast quite silly in execution, McAvoy clearly gave the role his all and watching him further embody so many distinct individuals was a delight! As the sole other returning cast-member from Split (not qualifying Bruce Willis' cameo), Anya Taylor-Joy's Casey Cooke is an important inclusion. While Taylor-Joy doesn't have nearly as much screen-time as she did in Split, her character helps ground the proceedings through her history and complicated connection to Kevin and "The Horde." Despite being somewhat underutilized in the grand scheme of things, Taylor-Joy puts forth an exemplary performance. 

Last of the three "powered" characters, Bruce Willis lends a familiar stoicism and apprehension to David Dunn. Willis has notoriously not seemed to care about any recent performance of his, and while it may be a low bar, this is surely his best outing in years! Reprising the role of Dunn's son Joseph, Spencer Treat Clark was also quite good. 

Meanwhile, Sarah Paulman's Dr. Ellie Staple and Charlayne Woodard's Mrs. Price are noteworthy supporting players. Paulson particularly lends a calm composure and aura of mystique around the psychiatrist she plays, which paid off in one of the film's final revelations, while Woodard was wonderful whenever onscreen. 

In spite of a split critical reception, Glass shattered my expectations as a satisfying conclusion to Shyamalan's superhero trilogy, and for the time being, I'd say the Shyamalan resurgence remains unbreakable.

Film Assessment: B+

Throwback Thursday Review: 'Looper'

Sorry for the delay, but welcome to my first Throwback Thursday Review of 2018! These next few months are going to be a little slow in regards to major releases, so I had some difficulty stringing together a slate of films to review each Thursday. However, there were quite a few Throwback Thursday Reviews from 2017 that never materialized (Looper included). Therefore, I'm incorporating them into my lineup. For those curious, I was originally going to review Looper the same week that Star Wars: The Last Jedi was released because both films were written and directed by Rian Johnson. I never really had a chance to sit down and rewatch the film though, so I decided to put off the review for later. As for upcoming January reviews, look forward to seeing Throwback Thursday Reviews of Paddington, The World's End, and The Shining, reviews of new releases Paddington 2, The Commuter, Proud Mary, 12 Strong, and Maze Runner: The Death Cure, and I'll be reviewing any films from 2017 that I missed out on as I watch them. 

'Looper' Review

Looper transports audiences to the bleak, distant future of 2044. Thirty years later, time travel will be invented, but is only available for those willing to pay on the black market. When the mob needs to eliminate someone, they send the target back in time thirty years to be assassinated by hitmen known as "loopers." In order to fulfill the terms of their contract, loopers must kill all their targets (including a future version of themselves). Once their future self is dead, their loop (contract) is closed and they've earned thirty years of luxurious retirement. A young looper named Joe is one of the most skilled in his profession. He does his job well, gets paid, and doesn't ask questions. That is, until he recognizes his future self on the job and hesitates... giving his older self just enough time to fight back and escape. Now that his loop's unclosed and his employers are quick in pursuit, Joe must find and eliminate his older self by any means necessary if he's going to safeguard the future and live out the rest of his life. 

Looper was written and directed by Rian Johnson as his third feature length film preceding Star Wars: The Last Jedi, and Johnson's endless imagination and knack for creativity triumphantly shines through his stylistic storytelling. Johnson's ingenuity for taking an established idea, such as time travel, and uniquely incorporating it into his story is probably what landed him the Star Wars gig to begin with (on-top of being a talented director with a unique voice). Time travel is something that can go horribly wrong when handled incorrectly because of all the caveats and logistics of time paradoxes, but Johnson manages to minimize those issues and tell a story full of intellect and emotion.

Johnson put a great deal of care into imbuing understandable motivations for Joe and his older self, so audiences could grasp what each incarnation of Joe is fighting for, and even asks questions about identity and purpose one would expect in a story pitting a man against himself. It's all rather high concept, but deeply rooted in relatable terms. Joe and Old Joe each want to survive in order to accomplish a mission that's meaningful to them. What's so fascinating about all that is how each version of Joe is essentially fighting for the same thing (survival), but their desires drastically differ from one another. The older Joe thinks his life experience adds more credence to his quest while the younger Joe's inclination evolves from being simplistic to more complex the further involved he finds himself in the struggle. 

Johnson's narrative never loses sight of character, so the emotional beats resonate and it's easy to quickly latch onto the characters and the concept. Otherwise, the film might have gotten lost in the shuffle of weighty sci-fi elements. In regards to its technical prowess, Looper features accomplished cinematography, exceptional editing, great grungy production design, and an enriching original score from Nathan Johnson. The action's appropriately intense and the prosthetics used to help Joseph Gordon-Levitt better resemble Bruce Willis aren't half bad. 

Leading Looper, Joseph Gordon-Levitt exemplifies suave charisma to spare as Joe. Gordon-Levitt is simply an extraordinary actor capable of imbuing enough nuance to astound audiences as well as he charms them, and his role here is no exception to his slick streak. Thanks to a proficient prosthesis, muted mannerisms, and a strengthened resolve, you totally buy into the fact that Gordon-Levitt is playing a younger version of Bruce Willis.

On the other end of the spectrum, Bruce Willis seeps similar qualities into his portrayal of Old Joe. Willis' take on Joe is shaped by emotional trauma though, which allows Willis to demonstrate his skill in the realm of dramatic acting (something rarely seen from Willis these days). Willis finds a bold determination for the character amidst Joe's anger, pain, and strife that's subtly communicated to tremendous effect. 

Sprinkled among the ensemble are superb showings from supporting players Emily Blunt, Jeff Daniels, and Pierce Gagnon in the roles of Sara, Abe, and Cid. Blunt, in particular, shines as she exhibits a believable balance between being a strong, protective mother and an emotionally compromised one. Daniels steals nearly every scene he's in, while Gagnon adds his name to the mile long list of adept young actors I've watched recently. 

Looper is essentially a spiritual sibling to Inception because both films are intellectual, emotional, and pioneered by innovative minds. If there's one thing to be said about Rian Johnson, it's that he sure knows how to throw me for a loop!

Film Assessment: A

Throwback Thursday Review: 'Pulp Fiction'

This week I am reviewing Pulp Fiction as I've recently been trying to expose myself to a wider variety of film and decided to watch some Tarantino films that I have yet to see that I know are regarded as classics. Now before I begin the review I feel I should certainly include this disclaimer. This film is rated R and has intense action and language so I highly advise against sharing this film with any children until you feel that they are mature enough to view such content. 

'Pulp Fiction' Review

Nominated For: Best Picture, Best Director; Quentin Tarantino, Best Actor; John Travolta, Best Supporting Actor; Samuel l. Jackson, Best Supporting Actress; Uma Thurman, Best Film Editing, and Best Original Screenplay.
Won: Best Original Screenplay.

Pulp Fiction is filled to the brim with wit, humor, great performances, iconic scenes and lines. Quentin Tarantino is quite gifted with the ability to create such interesting worlds for his original characters to inhabit and does a phenomenal job in his screenwriting creating beautifully crafted scripts with a compelling narrative and 'Pulp Fiction' is certainly no exception. This film's dialogue was hilarious at times and written remarkably well.The performances on display are incredible and the standouts in my opinion were the duo of Samuel L. Jackson and John Travolta. Samuel L. Jackson does incredibly well with his lengthy dialogue and keeps you totally engaged every single time he delivers a line in the film. John Travolta provides a charming performance and does quite well when paired with the rest of the supporting cast in scenes. Uma Thurman does well with the role provided and has some interesting scenes with John Travolta in the part of the film that focuses on them. Bruce Willis also manages to do quite well with his role as well making you really care about the stakes for his character in the second part of the film.  My favorite aspect of the film is that it comes full circle and ends right where it began and goes back and fills what could have become major plot holes for the film with a compelling story. Overall, I can say that Pulp Fiction far surpassed my expectations and is now my favorite movie created by Quentin Tarantino.

Film Assessment: A