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.
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