In the follow-up to 2000’s Unbreakable and 2017’s Split, David Dunn (Bruce Willis) and his son, Joseph (Spencer Treat Clark), run a home security business by day, and dish out vigilante justice by night.
Tracking down Dissociative Identity Disorder sufferer Kevin Wendell Crumb/The Horde (James McAvoy), Dunn appears to have met his match.
During their first confrontation, the pair are captured and locked in a mental institution by Dr Ellie Staple (Sarah Paulson).
Dr Staple has one goal: to prove Dunn, Crumb, and the villainous Mr Glass (Samuel L Jackson) are delusional, and not as super as they have been led to believe.
Benefiting from Mike Gioulakis’s cinematography and a top-notch score, Glass starts out with plenty of promise.
Director/writer/producer M. Night Shyamalan’s output has been declining in quality over the past two decades.
The trend continues with Glass – an unwieldy, dull, and nonsensical mish-mash.
The movie slows to a crawl in the second act, forcing us to endure banal monologues about the superhero gene, violence, trauma, and loss.
Thanks to a shoddy script, Glass is packed with plot-holes, inconsistencies, baffling twists, and clunky dialogue.
Despite sterling performances from Jackson and McAvoy, Glass is hindered by Shyamalan’s mediocrity.
Once touted “The Next Spielberg”, Shyamalan is now a shell of his former self.
Green Book
In Green Book, New York City bouncer Frank “Tony Lip” Vallelonga (Viggo Mortensen) has a reputation for punching first and asking questions later.
Known for being confident and making impulsive decisions, Frank is chosen for a gruelling assignment.
Frank is tasked with protecting African-American pianist Dr. Don Shirley (Mahershala Ali) during his extensive eight-week concert tour of the Deep South.
As expected, many Southerners treat Dr. Shirley with disdain.
Director Peter Farrelly (one half of the duo responsible for Dumb and Dumber, Me, Myself and Irene, and Shallow Hal) never strays into slapstick territory.
Rather, he delivers a heartfelt drama with appropriate moments of comedy.
Mortensen and Ali, two of Hollywood’s most intriguing actors, deliver powerful performances.
Helped by crackling dialogue, the pair work together effectively.
Sadly, the movie brushes past several tough topics.
Whereas many racial dramas conclude on a sombre note, Green Book wraps everything up in a neat, little bow.
Closer to Driving Miss Daisy than Selma, Green Book is a sweet, easy-to-digest drama about America.
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