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Home https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ Entertainment https://server7.kproxy.com/servlet/redirect.srv/sruj/smyrwpoii/p2/ M. Night Shyamalan rushes into two past hits in the horrible sequel of Superhero Glass

M. Night Shyamalan rushes into two past hits in the horrible sequel of Superhero Glass



The first time that Samuel L. Jackson appeared in the magnificent, grim reversal of the history of the superhero from the beginning of the century by M.N.Shimalan, he began enjoying a comic book, with all the welcome of Jules Winfield, preserved for imaginary biblical poems. The comic book is a real art, not just for children, Jackson's hero lectures, Elijah Price, a collector with extremely fragile bones, which turns out to be Shyamalan's classic steal-killer, Mr. Shyamalan. The glass, as his classmates called his childhood. Of course, it has changed a lot over the past two decades since the writer-director has tried to prove his thesis as a villain to create a opus for a crime fighter to take the genre seriously. Now the superheroes are the dominant power of Hollywood entertainment. Nobody should say that they are not just for children. If the Unbreakable has overtaken the curve, arriving as it did in a superhero-movie boom, the late new Shyamalan sequel, Glass is perverse and even superb by step. Like many modern stories about superheroes, it takes place in a shared "cinematic universe" ̵

1; to say, it is not just sequel to Unbreakable but the director's last film, thriller with multiple characters Split whose spinning end irritate an eventual opposition between the main attractions of the two paintings. But beyond the goals that unite the franchise, no one will confuse this often stupid, sometimes clever reef of the myths of a nose and a hood – with only flickering glimpses of action, little special effects, and even fewer places – for everything is on Marvel's line, For Better and Poor, it's a Shyamalan movie, with all the cumbersome conspiratoria and a strong, idiosyncratic production he usually implies.

<img class = "review-box__image" src = "https://i.kinja-img.com/gawker-media/image/upload/s–q_kzYWO4–/c_fill,fl_progressive,g_center,h_264,

Bruce Willis, James McAvoy, Samuel L. Jackson, Sarah Paulson, Anja Taylor-Joy, Spencer Cures Clark, Charlie Woodward

A patch in a padded cage and under great relief from the events of the Heaven Elijah Jackson – a mass murderer who has created disasters to wash away his heroic opposite – does not appear until roughly the second act of ] Glass His only one friend / enemy, indestructible family David Dan (Bruce Willis) is busy during the 20-year interim period managing a home security business during the day using his powers of supernatural intuition to chase the bad boys at night The film starts with David, who has called The Overseer on the internet – just a nickname he has earned in his years of justice, looking for James McAvoy, the highly schizophrenic serial killer of Split. Once struggling to control the "light," the different personalities in Kevin's split mind now mostly respond to his most deadly essence: The Beast, the monstrous alter ego, which seems to give Kevin superhuman power and flexibility, when he is in

Soon these forces of good and evil collide. But no sooner did David and Kevin find each other than the two were captured and put together with Elijah under the supervision of Dr. Elli Stapel (Sara Paulson), who specializes in studying people suffering from what she a being described as a superhero complex. Most of the votes take place within this single environment, less Arkham Baroque Rescue, where the doctor tries to convince three living archetypes that their forces are in their heads. By working again in something like B-movie mode, Shyamalan condenses the genre to its psychodramatic essence: The big series here is not a fight but a group therapy session. The MCU has largely turned the movie superhero into a collision of personalities but Glass which is smaller and wackier from does this literally – Horde ", the cult of the day of the day at Kevin's head, which leads its own civil war to control their shared secret identity.

Photograph: Universal Pictures

McAvoy, by the way, kills again. In his vocal and physical tour there is no reduced return, penetrating penny from a different "character" to the next. Is it surprising that Glass like Tim Burton's films Batman is much more interested in his bad guys than his good guys, especially since Elijah returns to life awakened as The Joker in The Dark Knight returns from the appearance of his opponent? No matter how much the genre is scrolling – this is a superheroic movie that is mainly based in a building – Shyamalan grasps his pulsing appeal. More than the average guardian of the blockbuster, he has a style that is compatible with the exaggerated visual language of the comic: Working again with operator Mike Joulakis ( It Follows ) The director uses silhouettes, reflections and strange angles to make the show on the panel of the media while the color coding of its main trio is in impressive shades of green, purple and orange. Sometimes it is reminded why Shyamanlan once made comparisons with Spielberg and Hitchcock: like these magicians to tell pop-movies, he makes every shot an event.

As a writer, however, he can still be remarkably clumsy. The scenario tries to balance his characters, including the teenage Split surviving Casey (Annie Taylor-Joy) and David n0w-grown son, Joseph (Spencer Cures Clark, Incorporating a role that he played 20 years ago). Most critical, Shyamalan can not figure out what to do with his hero – and ultimately, the ever-gray Willis, whose sleepiness serves only to emphasize the nuanced underestimation of his work in the first film. This is true in principle for Glass which continues to evoke memories of Unbreakable – most obviously by actually redirecting the deleted scenes from him as retrospective images, a genius – is approaching his power. Looking back, this deliberately experienced thriller, called disappointment after the overwhelming success of The Sixth Sense resembles Shyamanlan's most resonant entertainment.

[N / A] There is nothing to influence the stalker in the tangled result of Glass whose general instruction to believe in what makes you special, feels airborne transferred from The Incredibles [19599006] a different postmodern story about superheroes. All this is based on a twisted retreat and a strange, almost abstract climate when Shyamalan finally delivers a little conventional spectacle just to undercut him with what he feels like a parody of an explicit comment on Unbreakable . comics narrative: Everyone seems to have taken on the habit of Elijah's habit of explaining aloud the mechanics of the superheroes. Maybe there is a hint of cunning satire in this choice – digging up the cultural omnipotence of these things, the absurdity of over-inventing them, or the way in which Elijah's protection from comics as a serious media comes out of every corner of the net. Or maybe it's just bad. Anyway, Glass with all its flaws, at least breaks out any idea of ​​how a superhero movie should work. With more than those coming every year, this is an achievement that is at least worthwhile for the celebration of Sam Jackson's monologue.


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