‘Glass’ marries Shyamalan films together
M. Night Shyamalan (“The Sixth Sense,” “Signs,” “The Village”) has crafted an effective creep show with “Glass,” a shotgun marriage of his 2000 horror hit “Unbreakable” and 2016’s “Split,” an even bigger horror thriller. Not unexpectedly, the film has awkward moments as it ties elements from the originating productions.
Shirtless Bruce Willis chases a “beast” (somewhat Hulk-esque without the green skin) who is one of the collection of James McAvoy’s multiple personalities.
The film rests on the premise of erasing superhero encounters from the common citizen. Like “The Incredibles,” “The X Men,” and the later Superman entries, the world has a fear of subjects with “super” or paranormal gifts. Unlike the three aforementioned films, “Glass” focuses on individuals allegedly possessing strong obsessions that elevate them to dangerous vigilantes. An unsettling thought – do superheroes represent substitutes for concealment of so-called extraterrestrial encounters and paranormal activities?
Despite muddle, M. Night Shyamalan’s mystic overtones propels this dark twisted psychological horror film with a chaotic thread that pays homage to noir films by designing a Picasso painting on screen. The ending is divisive and risky, and that’s no spoiler either.