GLASS | Movie Review

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GLASS

Reviewed by REGGIE WOLTZ

Glass brings an end to a saga over 19 years in the making. M. Night Shyamalan’s “Eastrail 177” trilogy started with Unbreakable in 2000 and picked up with Split in 2016. For the past few years, many have wondered how Shyamalan was going to merge the narratives of two of his arguably best films.

Picking up shortly after Split, the many personalities inside Kevin Wendell Crumb (James McAvoy) have wasted no time in showing the world their true sinister potential. The criminal activities have caught the attention of David Dunn (Bruce Willis), who has increased his heroic status since the events of Unbreakable. One thing leads to another, and they find themselves locked in a mental institution alongside Elijah Price a.k.a. Mr. Glass (Samuel L. Jackson). The trio becomes part of a study led by Dr. Ellie Staple (Sarah Paulson) and her goal is to prove to them that they possess no supernatural abilities, and are like nothing seen in the average comic book. This primary thread serves as an interesting follow-up to the previous two films, considering one was a heroic origin story and the other a villainous one.

Not only is this gist interesting enough to keep one’s attention, but the cast could not be more invested. Jackson and Willis slip naturally back into their respective roles and make it seem like they’ve been longing for this return. McAvoy continues to steal scenes, and even adds more surprises and depth that was not previously seen in Split. Returning supporting characters from the previous two films are just as committed and excited to finally collaborate with each other’s narratives. Shyamalan deserves credit for naturally merging the cast and tone of these two films 16 years apart. No one’s involvement in this crossover feels forced or out of touch with Shyamalan’s vision.

The only element that feels jarring within the cast is that of Paulson’s Dr. Staple. Paulson is a superb actress, and she connects with viewers throughout the majority of the film, but it becomes stagnant. Paulson has major screen time, but her talent feels somewhat wasted due to the lack of range she is granted by the script. However, she reminds the audience of her expertise by making the best of it, thus allowing her crucial role to stay relevant.

On the topic of the script, viewers may start to feel divided. Besides featuring a sometimes underwhelming antagonist, many will find Shyamalan guilty of diving too deep into the nostalgia pool. Nostalgia is always going to have some sort of presence in a sequel, relating to an older favorite, and Glass displays some of the basic forms of sentimentality such as re-spoken lines, visual callbacks, and glorified cameos. However, it’s so frequent that some nods start to feel repetitive. The nostalgia in Glass works best for those who are very familiar with Shyamalan’s trilogy. Unfortunately, for those who are not, and for those who are less sentimental, they’ll likely find some moments cliched.

One’s first viewing of Glass can be best described as riding a rollercoaster without a safety bar. Exhilarating and fun at times, but one sharp twist or turn can result in flying off the ride. Those who manage to stay on for the entire journey will probably favor the experience more than those who fell off. Even then, they still might question why they didn’t go over the edge.  There are plenty of other thrills though, such as sleek visuals by cinematographer Mike Gioulakis and a superb score by West Dylan Thordson. It’s unfortunate that the rocky script will prevent many from giving enough praise to those elements.

Through its many ups and downs, Glass still stands as a decent sequel to two of Shyamalan’s best entries. For being such an unconventional filmmaker, a lot of what works in the film is quite conventional by today’s comic book movie standards. The more unconventional will surely find its audience. Even with this being the case, one may still be left feeling slightly disappointed and wondering what more this could have been considering its vast potential.

© Copyright 2017 – 2019. ALL Rights Reserved.
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THE GRINCH | Movie Review

The Grinch

by REGGIE WOLTZ

The Grinch’s 2018 comeback is to Christmas what Black Friday is to the holiday spirit: commercially perverted to the core. But what else should be expected from a family animated movie that has been promoting an updated Christmas staple since the early days of November?

Benedict Cumberbatch is the new voice of the ill-tempered but lonely Grinch, who lives a solitary life in his cave high atop a mountain that overlooks Whoville. The miserable green guy has only Max, his faithful dog and best friend, to keep him company and, other than occasional trips to Whoville to get food, has nothing to do with his neighbors in the valley.

It’s during one of his reluctant shopping trips that the Grinch encounters Cindy Lou Who (Cameron Seely), a pig-tailed and fearless little girl with a precocious heart. For Christmas, she wants Santa to give her struggling single mother, Donna Lou Who (Rashida Jones), the break she needs and deserves. Only, Cindy Lou Who plans to trap Santa so that she can ask for her request in person.

Grinch, perturbed by family and friends gathering together to celebrate in Whoville, plans to dress up as a less-than-jolly Saint Nick to steal everything associated with the holiday and turn the town’s Christmas Day joy into grief.

In effect, our understanding of the Grinch’s motivations are the same and we get to see a little more into Cindy’s character. Sounds like a good way to add something late on so that the second half might not feel like retread! Unfortunately, albeit with a tad more set-up, the plot leads to the same Cindy and Grinch interaction and resulting events as the original version.

The Grinch does more than triple the running time of the original TV classic, which is to say this animated big-screen version is three times too long and ten times as unnecessary (much like Jim Carrey’s live-action How the Grinch Stole Christmas from 2000).

Other than padding the plot, backstories for the main characters, and additional comedic relief, The Grinch is ultimately faithful to its source material. But it never improves upon it – for it may look better with more advanced animation but underneath the paint job is the same old overpacked sleigh.

Most disappointingly, the voicework, outside of Cumberbatch’s starring role, is unmemorable. Of the notable failures, Pharrell Williams replacing Boris Karloff as the story’s narrator and Tyler, the Creator’s update of Thurl Ravenscroft’s “You’re a Mean One, Mr. Grinch” amount to interesting choices by the filmmakers that, despite trying, cannot replace either of those iconic performances. The same could be said of this Grinch update itself.

© Copyright 2017 – 2018. ALL Rights Reserved.
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