2019 Directed by M. Night Shyamalan
In a series of escalating encounters, former security guard David Dunn uses his supernatural abilities to track Kevin Wendell Crumb, a disturbed man who has twenty-four personalities. Meanwhile, the shadowy presence of Elijah Price emerges as an orchestrator who holds secrets critical to both men.
James McAvoy Bruce Willis Samuel L. Jackson Anya Taylor-Joy Sarah Paulson Spencer Treat Clark Charlayne Woodard Luke Kirby Adam David Thompson William Turner Johnny Hiram Jamison Owen Vitullo Colin Becker M. Night Shyamalan Shannon Destiny Ryan Diana Silvers Nina Wisner Kyli Zion Rosemary Howard Bryan McElroy Serge Didenko Russell Posner Kimberly S. Fairbanks Leslie Stefanson Marc H. Glick Brick Mason Bostin Christopher Ukee Washington Brian Anthony Wilson Show All…
Douglas Aibel Diane Heery Jason Loftus Stephanie Holbrook Deborah Maxwell Dion Henry Russell Bergstein
Manny Siverio David Shumbris Chazz Menendez Brian Donahue Christopher Jon Gombos Jim Ford Zoli Dora Rick Kain Jeff Ward Bryce Burke Giuseppe Ardizzone Kenny Wong Chris Dyer Matthew R. Staley Anthony Hoang Chad Knorr Chris Colombo Patrick M. Walsh Anthony Mecca Stuart F. Wilson Aaron Joshua Mark Pettograsso John McEnerney Jason Nguyen Peter Wallack Kimmy Suzuki Stephen Mann Zack Roberts Ricky Barksdale Mohammed J. Ali Michael Viola Wendy Gutierrez Victor Chan Roberto Gutierrez James Ortiz Earl Weathers Elvis Valentino Lopez Christian Dorsey
Universal Pictures Blumhouse Productions Blinding Edge Pictures Buena Vista International Perfect World Pictures
언브레이커블 글래스, Vidro 2019, 異裂, מאסטר זכוכית, מר זכוכית, غلاس, Стъкления, Skleněný, Glass (Cristal), Klaas, شیشه, Verre, מיסטר גלאס, Üveg, ミスター・ガラス, შუშა, 글래스, Stiklas, Misters Stikls, Vidro, Sticla, Стекло, Stekleni, Господин Стаклени, คนเหนือมนุษย์, Скло, Bộ Ba Quái Nhân, 玻璃先生, 異能仨
High speed and special ops Epic heroes Monsters, aliens, sci-fi and the apocalypse Intense violence and sexual transgression future, sci-fi, technology, action or technological action, villain, superhero, hero or action-packed action, explosives, exciting, action-packed or villain thriller, psychological, suspense, twist or disturbing cops, murder, thriller, detective or crime Show All…
The last 45 minutes or so of this could have been fleshed out and lengthened and you'd have a shot at the emotionally cathartic, narratively surprising, and still amusingly pulpy trilogy wrap-up that Shyamalan is perfectly capable of delivering. Unfortunately he's sort of got to retell UNBREAKABLE and SPLIT a little bit first, and so boy does this drag -- raising and answering yet again questions we've spent two whole movies now dealing with -- before you get to a terrific centerpiece with the four main characters all in a room together that really ought to be the very first scene of this thing. Still, it's as gorgeous as anything Night's ever done, full of idiosyncratic angles, lush and obviously symbolic color palettes, and his patented cloying portent...it's his movie through and through for whatever that's worth.
A low-budget, high-concept superhero movie that’s as clever in its design as it is joyless in its execution, M. Night Shyamalan’s “Glass” is meant to be seen as some kind of demented self-portrait, but which of its dull characters is the long-suffering auteur meant to be? Is he “Unbreakable” strongman David Dunn (a vegetative Bruce Willis), the born survivor who can withstand any amount of pain and keep on coming back for more? Is he Elijah Price (a cunning Samuel L. Jackson), the brittle mastermind who takes everything too personally, and prides himself on the devious ingenuity of his plots? Is he “Split” antagonist Kevin Wendell Crumb (an exhausting James McAvoy), who suffers from an exaggerated personality disorder that makes…
M. Night Shyamalan's Fire Walk with Me -- an empathic examination of trauma and not only the consequences that come with said trauma, but also the lives being shifted, the existences being affected; the shards falling into place, amongst chaos, and shattering spectacularly, whilst elsewhere a genesis is materializing and the emergence of adjacent hopes & prospects finally become visible. Injuries do happen, damages occur, but wrestling with the darkness in order to fight, to stay in the light, is how wounds heal -- how our power to heal our wounds is what makes us, the broken, constantly eclipse human ability. We fight, because we will never fail to remember the stories of people cut short of their time, robbed of…
this was... Interesting but also when sarah paulson was reading papers about osteogenesis imperfecta i shouted “Represent!” and when mr glass explained what it was i dabbed so. yeah
By far the strangest studio product I have ever seen, bar none, and Shyamalan's strangest film yet, by a long mile.
A series of incredibly hard pills to swallow; three elements sell all challenges.
(1) The incredibly sturdy shot-reverse-shot is a key indicator of a man at the absolute top of his game. The use of elliptical spacial interruptions actively throws off any assumptions one can make about the pace or overall shape of the movie prior to its completion. The 'intro to the asylum' scene may very well be the best of Shyamalan's career, it has more than a little in common with Wiseman's faux-phone-call in Ex Libris.
(2) The titular Samuel L. Jackson delivers the performance of his…
we are the same. even the different have to conform to their standards, their rigid systems of understanding, but that doesn’t have to last. we break apart everything they know to be true and we make sure that the future is different for those traumatised kids who don’t know why they’re being broken. hold the hands of those you love and hope that the world can change. currently sobbing in a public place because of how much this destroyed me.
must movies be good? is it not enough to sit somewhere dark and see james mcavoy's ripped body, huge?
