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We deserve something better than the ending ofGlass.
Weneedsomething better than the ending ofGlass.
In 2000, back before anyone couldve predicted our presentsuperhero boom, divisive auteurM.
There was no sci-fimishegoss, no third-act battle royale, no epic special effects, no goofy quipping.
Oh, how desperately we require a message like that right now, what with our cinematic spandex glut.
Its somehow simultaneously formulaic and overly convoluted.
Then things get silly.
However, they never get past the institutional grounds.
and A collection of main characters!
Jackson is, to paraphrase Beck, phoning it in like hes got unlimited minutes.
(A side note: Jackson is 70 years old; the actor playing his mother is 65.
Do with that what you will.)
Casey becomes a participant-observer when she attempts to reason with Kevin and get him to end the madness.
Its just a bunch of loosely connected climactic events crazy-glued together at random.
As they do so, the camera zooms in on little cloverleaf tattoos that they all have.
This was an origin story, the whole time.
Then the twist arrives.
Well, mission accomplished.
As the film concludes, we see that triad of friends and family in the local train station.
Cut to the credits.
So … uh … what?
How would that even work?
Do superheroes, like Peter Pans fairies, only exist if we believe in them?
More important, why on earth should we want them to exist?
Weve already seen the nigh-unstoppable horrors that Kevin acted out do we really desire more of that?
Is this supposed to be a lesson about the importance of believing in yourself?
Or the power of superhero fiction?
If its the latter, I cant help but get a queasy feeling in my stomach.
Its especially frustrating in the context of theUnbreakable-verse.
We are already being turned into a society of Elijah Prices.
Why Shyamalan thought it was necessary to accelerate that process is beyond me.
