Tag Archives: #anyataylorjoy

Glass

Posted on by

Release: Friday, January 18, 2019

👀 Theater

Written by: M. Night Shyamalan

Directed by: M. Night Shyamalan

Starring: James McAvoy; Bruce Willis; Samuel L. Jackson; Spencer Treat Clark; Sarah Paulson; Anya Taylor-Joy

Distributor: Universal Pictures

 

***/*****

All the pieces finally fall into place for M. Night Shyamalan and his long-gestating superhero trilogy with Glass, in part a direct sequel to 2017’s psychological thriller Split as well as a belated return to the awe-inspiring identity crisis established 19 years ago in Unbreakable. Glass is far from perfectly polished, but against all odds the third and final chapter not only justifies its own existence, it justifies everything leading up to it, notably the ending to the last installment.

For what it’s worth, Anya Taylor Joy wasn’t the only one being held captive that day. I was such a prisoner of the moment, convinced the writer/director had just written and directed himself into a corner he was at the same time being pressured into by modern industry trends. But this knee-jerk reaction failed to take into account that Shyamalan had wanted to expand upon ideas established in Unbreakable years ago but just couldn’t get a studio to bite on a Part 2. In fact Split‘s compellingly deranged anti-hero was extracted from a ditched subplot in Unbreakable and in (one of Shymalan’s favorite things) a twist of fate, that film, unlike its predecessor, was immediately embraced critically and commercially. And now here we are, at the end of the line — the culmination of what we should, I suppose, formally recognize as the Eastrail 177 Trilogy. Not a very sexy name, is it?

Glass technically begins three weeks after the conclusion of Split, reuniting us with David Dunn (Willis the Bruce) and his now-grown-but-still-believing son Joseph (Spencer Treat Clark), running a little Bruce Wayne-like operation in the back of David’s own private security firm, with Joseph keeping online tabs on the seedy activity taking place in the shadows of metro Philadelphia while his father “goes for walks,” physically immersing himself in those shadows, brushing up against — well, you know how it works. We first see The Overseer, as he’s now known amongst internet fanbases, taking down a punk with a mean-spirited YouTube channel, confronting him in his own house and overpowering him by some margin in a bit of gleeful fan service.

The story proper is set into motion when David and the notorious kidnapper Kevin Wendell Crumb (James McAvoy) are escorted to a remote psychiatric facility after a skirmish that spills out into the streets. Even though David successfully frees a group of high school cheerleaders Kevin and his multiple personalities (a.k.a. “The Horde”) have chained up in a warehouse, not everyone views his vigilantism as being in the best interests of the public. Kevin’s behavior is much less defensible; why they are both punished equally here kind of defies reason, but then again airtight logic has never been one of Shyamalan’s superpowers as a writer. Regardless, the pair are going to be having a little chat with a Dr. Ellie Staple (Sarah Paulson), who specializes in a very specific kind of delusion. The “I believe I am a superhero” kind of specific.

This of course is the same facility housing David’s nemesis, Elijah Price/Mr. Glass (Samuel L. Jackson), who, despite his near-comatose appearance, is under the most severe scrutiny given his propensity for manipulation and deception. Dr. Staple’s job is to convince her patients that what they have been experiencing are merely complex coping mechanisms after having lived through trauma. Yet within the context of the entire saga, the character — less a human and more a plot device, granted — represents an evolution in perspective. Unbreakable posed the question of whether or not superheroes really walk among us and it did so by comparing the naivety of Joseph versus that of his father; the point of view was private, personal, highly contentious. In Glass that perspective is systematically denied. Instead this is about an institution that believes it has the ultimate perspective. As the woman in the white lab coat suggests, if superheroes are real why are there only three of them?

If you want dissenting opinions, you’ve come to the right place. I was really impressed with what Shyamalan was able to create on such a modest budget, funding the $20 million project himself. (I wonder what my life would be like if I had that amount to throw at one thing.) Budgetary constraints are on display everywhere: they explain why we are for a large portion of the film trapped more or less in a single room with a “field expert” who enjoys bludgeoning her patients (and us) with medical jargon and bureaucratese. They explain the incident in the parking lot, the pistol and the pothole — the latter representing a truly creative resolution for something we all saw coming. Yet I can’t say the low overhead necessarily enhances the experience, either; it’s never less than a nagging thought that the film might have gone a different direction with just a little more money behind it.

Whether that would have been a more satisfying direction is obviously speculative. Going out with a bigger bang might have been more visually gratifying, but it would also risk violating the code of understatement Shyamalan has remained faithful to. As it stands, there is a surprising amount of weight that accumulates at an emotional and psychological level, and it is still the performances that make the movie. In its closing moments the actors are reaching some pretty spectacular heights (Willis aside, I won’t dissent on that widely-held opinion). I maintain that Mr. Glass is up there with some of Jackson’s career-best work, he’s a tragic and complicated figure. Meanwhile, McAvoy somehow one-ups his previous effort in Split by embracing even more of The Horde. In the process he illuminates his internal pain and turmoil in ways we haven’t yet seen.

Despite several blemishes in the script (inept orderlies, anyone?) and the fact Shyamalan reaches for but never quite achieves profundity, Glass ultimately succeeds in bringing closure to a series and a unique set of characters. I wouldn’t go so far as to suggest this is either a swan song or a magnum opus. It’s simply a compelling film chockfull with geeky references to comic book lore and the culture surrounding it, and it is arguably his best effort in nearly two decades.

“Do it! Say osteogenesis imperfecta one more time . . .!”

Moral of the Story: Glass isn’t the event film most comic book adaptations are compelled to become and that alone feels refreshing. Getting to see all three characters share the screen is exciting, with James McAvoy being a true stand-out. The story is absolutely steeped in the language of comic books (becoming super-meta at the end with certain characters observing how reality is merging with events depicted in the comics — a nice touch even if a bit silly), and yet I think there is plenty here to recommend to viewers who aren’t hardcore about collecting and reading comics.

Rated: PG-13

Running Time: 129 mins.

Quoted: “This was an origin story the whole time.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Split

Posted on by

split-movie-poster

Release: Friday, January 20, 2017

👀 Theater

Written by: M. Night Shyamalan

Directed by: M. Night Shyamalan

Starring: James McAvoy; Anya Taylor-Joy; Betty Buckley; Haley Lu Richardson

Distributor: Universal Pictures

 

**/*****

THIS REVIEW INCLUDES A MAJOR SPOILER

You just have to admire the child inside that M. Night Shyamalan has refused to abandon. His passion hasn’t always translated into quality entertainment but “going through the motions” isn’t a complaint you can lodge against the director. The fire keeps burning, even though the winds of critical and commercial failure keep trying to blow it out.

Amidst a climate of sudden optimism, it would seem Shyamalan has rediscovered his mojo, having delivered two consecutive products that have not become both the joke and the punchline (with last year’s The Visit garnering more positive reviews than his previous three efforts combined). Split, his most recent provocation which concerns three young women abducted by a man with multiple personalities, has people talking excitedly again.

The writer-director wastes precious little time in getting to work, introducing us to the three targets, led by Anya Taylor-Joy‘s moody Casey, before promptly throwing them down the rabbit hole. Her acquaintances, Claire (Haley Lu Richardson) and Marcia (Jessica Sula) — and they are verifiably more acquaintances than friends, based on a few buzzwords we hear in the opening scene, like “mercy invitation,” “obligation” and “weirdo” — are here to offer contrast, particularly in the way the girls respond to threat. Casey stands out as both outcast and survivor, the prototypical Shyamalan protagonist.

Their abductor is played by James McAvoy, whose dramatic chops are put to the test in a performance that requires him to evoke the quirks and mannerisms of at least eight distinct personalities. He plays a mentally ill loner named Kevin Wendell Crumb who suffers from a real disorder called Dissociative Identity Disorder, which has actually rendered 23 different identities in total. They range from obsessive-compulsive disciplinarians to matronly caretakers to naive pre-teens. Given the complexities of such a role, this could be the Scot’s finest hour.

Because it would be unreasonable to expect the actor to portray all of the personalities living inside his character — not to mention confusing for the audience — only a handful of them are paraded in front of the terrified girls who all the while can’t agree on an escape plan. The well-adjusted reason that physical confrontation is inevitable while Casey thinks it’s better to be patient and use Kevin’s condition to their advantage, believing their best chance for survival lies in their ability to manipulate Hedwig, the nine-year-old boy.

Shyamalan ranks among the best in the biz when it comes to generating suspense and making audiences dread what lies around the next corner. Split is more of the same in that regard, but it also has the added bonus of McAvoy’s stunning performance and Taylor-Joy’s nearly-as-impressive portrayal of a troubled teen with a dark secret, one that slowly gets teased out throughout the course of the film. But the thing about Shyamalan is that his childlike enthusiasm for sharing his gift for storytelling often undermines his seriousness of purpose. He is often too clumsy, too ambitious, too obsessed with artifice. Some of his decisions have proven disastrous. Split is not a disaster. In fact, 90% of it manifests as a really interesting psychological thriller that stays well below the usual threshold of silliness.

But that 10% is what is always going to keep Shyamalan a few steps short of greatness. And it is frustrating, because he is quite literally less than a few steps short of delivering his most satisfying psycho-thriller since Unbreakable, now 17 years old. It’s what he does to wrap things up that proves his undoing. Again. The ending is a complete betrayal of the reality in which his new film is based. I’m not concerned about the science that Split manipulates for its own agenda. A) It’s par for the course for fictional works to take dramatic liberties. That’s why it’s called fiction. And B) Kevin’s psychologist (played by Betty Buckley) isn’t the key to unlocking the film’s secrets.

No, that’s why we get Bruce Willis. You have got to be kidding me. I’m now waiting the ultimate plot twist wherein I wake up from all of this madness.

You’re gonna love the ending!

Moral of the Story: When compared to his most recent output, Split feels like a much more accomplished film. And for the most part it does impress, locking the audience inside a pressure cooker from which escape seems highly unlikely. Wonderfully atmospheric and well-performed, the guillotine that Shyamalan runs into at the end is just so regrettable. Two-thirds a return-to-form, in my book. 

Rated: PG-13

Running Time: 117 mins.

Quoted: “The broken are the more evolved.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

Morgan

Posted on by

'Morgan' movie poster

Release: Friday, September 2, 2016

[Theater]

Written by: Seth W. Owen

Directed by: Luke Scott

No movie, especially one dabbling in the science fiction genre, has an obligation to make the viewer feel all warm and cuddly inside. You can be both the coldhearted bastard and The Year’s Best Movie, but if you plan on being as brutally dispassionate as this year’s attempt at Ex Machina-ing the AI subgenre back to life, you better have something interesting to say.

Morgan‘s got nothing. What it does have though are 90 of the most unpleasant, uninteresting minutes I’ve spent at the movies this year.

There were only four of us in my 3:45 screening and the film played out as though it were anticipating as much. You might attribute the film’s disinterest in engaging the viewer to Scott W. Owen’s thoroughly unoriginal screenplay, a story about the dark side of cutting-edge science so bland you sit there realizing that you’re thinking about how bland it is. Annoyingly that meta thought begets another. And then another, and soon enough, twenty minutes have gone by and still nothing’s happened. Oh, look. Time to refill the coke and popcorn. (Spoiler alert: do it in the first 45 minutes because you won’t miss a thing.)

Unfortunately though it’s a real team effort, as the son of the great Ridley Scott doesn’t steer the project in any meaningful direction with an uninspired vision that substitutes substantive scientific and/or philosophical questioning for grisly and pretty cruel action sequences. There are so many questions. What makes Morgan special? Why should we believe she’s the AI creation of the cinematic year? What is her true potential, what is her purpose? Can she really be controlled? Should she be? And the million dollar one: why should we care, about her or this world she inhabits?

If foreshadowing doesn’t destroy Morgan‘s shot at profundity, then it’s a lack of depth and substance. There’s no extrapolation as to what this says about where we are in society, only easy answers — solutions tailor-made for this specific narrative. All the bloody hand-to-hand combat reserved for the ending is an overt solution to the problems introduced in this dreary, monochromatic world. What makes Morgan special? This karate chop! That crazy look in her eyes. (It sure isn’t that fucking boring hoodie.) Why should we believe she’s the year’s coolest AI creation? Because she’s a murderer, with a lust for blood not seen since Ted Bundy. What is her true potential? To be more Ted Bundy than Ted Bundy. Why should we care? Um . . .

The story takes a more political/business approach to the world of scientific endeavors, one of its few distinctive features. Morgan focuses on the tension between a corporate entity seeking total control and the idealistic virtues of those working directly on the company-funded Morgan Project. It pits Kate Mara‘s supremely unfriendly risk manager Lee Weathers against the strangely more sociable project overseers, a group that includes doctors Simon Ziegler (Toby Jones), husband-and-wife duo Darren and Brenda Finch (Chris Sullivan and Vinette Robinson), Amy Menser (Rose Leslie), and Lui Cheng (Michelle Yeoh). After an incident in which Morgan attacked another scientist, played by Jennifer Jason Leigh in the second role this year that has required her to cover her face in physical-abuse make-up, Lee is called in to assess whether the project is one still worth pursuing or if it needs to be terminated.

Mara may not look the part, but she kind of does feel like The Terminator, and Leigh’s bedridden scientist even calls her “a goddamn assassin.” She’s here on business and won’t leave until that’s finished. From the moment she appears Mara delivers each of her lines in the same monotone, several inflections away from sounding like a real person. It’s actually a pretty terrible performance from a reliable thesp. (But not as terrible as the ending.) Corporate red tape wears out its welcome quickly with Ziegler and his colleagues. Perpetually on the defensive, the team continues trying to justify Morgan’s sudden outburst as anomalous. Morgan describes it as “an error.” Nonetheless, a psychiatrist is brought in for an evaluation. It’s Paul Giamatti, so at least you know what you’re going to get out of him. And he surely delivers, pushing Morgan to the limits as he questions why she thinks she is alive. Why she thinks the people around her are her friends.

Judged through a tedious first section and an even slower second act, Morgan isn’t very eventful but it’s well-crafted. A reasonable amount of tension is generated from our ignorance to what Morgan is capable of doing or what she is actually going to do to her captors once she gets loose. (An event we await with bated breaths.) Mara is a constant bummer but the rest of the characters are fairly likable in their restricted capacities. Anya Taylor-Joy (the break-out star from this year’s The Witch) is for some time empathetic and her distinctive features make for a suitable alien-like presence. Boyd Holbrook plays a hunk with serious culinary skills. Because we needed that for levity, I guess, but I’ll take it if everyone else is just going to be a misery to be around.

But when we’re exposed to what the filmmakers have in store for us having waded through a lot of nothingness, the wheels fall right off the wagon, spectacularly. Who had M. Night Shyamalan on speed dial for that big reveal? It has his fingerprints all over it. In fact his sense of atmosphere and ability to maintain tension makes it feel like Morgan doesn’t have any Scott blood running in its veins at all. Slavishly adhering to structure and with no personality of its own, this Ex Machina wannabe has been conditioned to not think for itself.

Recommendation: Slow, unoriginal and featuring an uneasy mix of cerebral meditation and shocking violence, Morgan gives me too many reasons to call this just a total freaking mess. As I personally wasn’t hugely anticipating it, calling it a disappointment might be a stretch but it certainly is disappointING that good actors and a reliable premise, granted a thoroughly worn out one at this point, aren’t enough to bring it around. Film also finishes on one of the lamest notes I have seen since Now You See Me, so unless you’re willing to risk leaving a movie wondering why you even bothered, I’d have to say keep a respectable distance from this one.

Rated: R

Running Time: 92 mins.

Quoted: “There was joy in her heart, before we shoved her back into that box.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.screenrant.com; http://www.foxmovies.com